Parasite, the Oscars best picture winner of 2020

anybody knows why the former housekeeper lady looked beat up, when she came to check for her hidden husband on the rainy night? They never explained it, maybe something that was cut…

I don’t think there’s much to it - the way I read the scene was that she was poor, had no place to go, was stuck out in the rain for hours, and spent that time trying to figure out a plan to get back to her husband.

Yeah, I don’t think she was beat-up. She just looked homeless, and being caught in the rain wasn’t doing her any favors. Every time we saw her previously, she was prim and proper with hair and makeup and perfectly-ironed clothes.

Now, after she’s kicked down the stairs, then, yeah, she’s really beat-up.

To be explained in the HBO miniseries.

I saw this knowing very little about the movie and I am glad about that, my wife and I had so much fun watching this. The entire theater laughed throughout the first half of the movie, and you could feel the tension being felt by people around you in the second half. I can only recall seeing a handful of movies at the theater that affected audiences like this, and it was great to be there.

The story is really well done and just a joy to watch, I remember during the first half of the movie I just kept anticipating the next scene and the next because I wanted to see how things get worked out. The latter half was great too, for very different reasons. The ending was a bit of a fizzle but what can you do, I think it would have been better off ending right after the climax.

The metaphors weren’t subtle, but in my view criticising it for that is like criticising Animal Farm for the same thing.

The moment when the door opens in the garage is probably one of the best film going experiences I have ever had. It is up there with the ending of There Will Be Blood in just sheer shock.

This is one of my favorite movies of the decade, probably just behind Hunt for the Wilderpeople for me.

You mean halfway through the film? The secret door reveal? (I just wasn’t registering that as a garage so I’m not sure what you’re describing exactly.)

Yeah please elaborate further, no idea which scene you mean!

I guess, I thought it was a garage, the basement. Pantry area, etc.
I don’t want to get too spoilery, but during the rainstorm, when someone opens that door…

fucking chills.

I think the movie is pretty unsubtle about how horrible the rich people are, but I think it’s more subtle about how bad the poor people are as well, even though they’re the audience surrogates.

I actually found the rich people to be rather charming (if also tremendously oblivious).

Oblivious is a good description. The easy thing to do would’ve been to make them actively horrible, but I didn’t think they were.

That is one of the greatest strengths of the movie. There are no real villains, only people that have been warped by the proto-caste system that capitalism has turned society into.

Just like the rain in the film trickling downhill, or the way the home is constructed with its multiple levels.

The film is basically perfect.

Yeah, the rich people were incredibly detached, but not evil.

I just rewatched Snowpiercer and liked it now way more than before, not sure what changed, maybe identifying more of the themes of the director. Really good SciFi (imo)

I have now! Watched Memories of Murder last night and really dug it. Definitely my favourite Bong after Parasite (though I also rewatched Snowpiercer recently and liked it a little better than before). It was particularly striking given how tired and formulaic the serial killer genre is in the West, though I wonder how much the divergence was down to being based on true events (I’ve no idea how faithful the story is).
In a similar way to how Parasite makes a good companion piece to Burning, I’d argue that Memories of Murder juxtaposes well with Sympathy for Mr Vengeance. They both share a fundamental lack of faith in the police and policework that you rarely see in Hollywood movies, though it’s much more nihilistically expressed in Park’s film and Bong’s has much more, um, sympathy for at least some (one?) of the detectives as individuals than Park’s. I’d be very interested if anyone has any reading material on the cultural origin of that, kind of like that piece on the Japanese justice system and Ace Attorney.

I saw from the Rotten Tomatoes reviews (and one that popped up in the QT3 search) that a lot of critics highlighted what they called comic elements or dark humour. I have to say I didn’t really get that vibe at all, and I’m usually attuned to dark humour (and it’s clearly present in Bong’s other films). Stuff like the crime scene fuck-ups early on didn’t come across as bleakly funny, just tragic/shameful. That’s not to say there was nothing funny in it at all, but I would never in a million years describe it, as the review referenced on QT3 did, as “an unusual fusion of death and laughter”.

Which piece is that?

I think it was this one, but it was so long ago that I read it I’m not entirely sure:

There’s a more academic article here:

Thanks, I will make time to read these.