"Parasite" Revolutionized How We See Best Picture Winners

Bong Joon-ho

Back in 2009 when I was discovering who I was as a cinephile, there were a handful of movies I was recommended. My friend Dorian, more a fan of eastern cinema like J-Horror and Studio Ghibli, joined me on a quest to watch all of these films, discovering some of the finest voices of contemporary cinema. Among those films was The Host, itself already promising given our love for monster movies. While I had expected there to be rabid chaos letting loose, I hadn't expected there to be so much personality and humor, creating a social commentary within this realm that I hadn't fathomed would have anything memorable to say besides giving the audience a thrill. Maybe it was because I was young, but the way it enhanced story only proved to me that international cinema had this capability of connecting to me, even if I couldn't tell you a single thing about South Korea. In that way, I was a changed man.

Along with the great Park Chan-Wook (The Vengeance Trilogy), the decade to follow was an incredible time to watch The Host's director Bong Joon-ho emerge as this larger-than-life personality, helping to bring attention to the incredible Korean Wave of cinema still going on. There was something special about Joon-ho, who constantly returned to the conversation with these abstract genre thrillers like Snowpiercer and Okja: films that sought to connect Korean ideology with western interests. With Parasite, he found a way to create the ultimate universal tale in a story of the economic struggles of the working class as they fight for a little luxury. It was known not only by critics but also by its unprecedented box office run. This wasn't just another South Korean import. It was a $167 million success story that went even further. By winning Best Picture at the Oscars, Joon-ho did the unthinkable in elevating himself from connecting with the weirdos who love international cinema, to just being plain accepted for making an undeniable masterpiece that has a lot to say both in text and in success about the future of film.

Review: "Pain and Glory" Finds Creative Freedom in Vulnerability

Scene from Pain and Glory

Over the course of a career, the best of artists will have expressed themselves on levels so personal that it's hard to think that there's anything left to cover. For Pedro Almodovar's Pain and Gain, the struggles of Salvador Mallo (Antonio Banderas) feel like they've only readjusted themselves following a career of international acclaim. Are his best days behind him, or is he bound to turn his latest project into the next big masterpiece? Following the reappraisal of a 30-year-old film, Salvador has a chance to look back on his life, especially in relation to his collaborators and youth, going on a mission to find where meaning comes from at a time when he's worn, his body falling apart on him as he does everything to maintain his vibrancy. As far as dramas looking back on a life well-lived, Almodovar has made one of the most beautiful and touching tales, finding the intricate balance between inspiration and human flaw. By the end, truth and reality have mixed so ambiguously that one has to wonder if life imitates art, or if art gives reason to live. Maybe it's both and we just don't realize it.

A Look at The Oscars' New Rules

It has been a while since the fallout of the 91st Academy Awards. With many still mulling over the winners (notably the controversial Best Picture winner Green Book), it's important to look forward to what the future provides. In this case, Academy President John Bailey has released an annual change to the many voting rules for the 92nd Academy Awards. In almost every case, the rule changes are actually fairly exciting and look promising to the bigger picture. Whether it's changing the name of Best Foreign Film to Best International Film, or adding more nominees to Best Hair and Make-Up, the changes at least put the upcoming year on a more optimistic track and will hopefully embody a smoother year for all involved.