“Parasite” makes history at Oscars

Writer-Director Bong Joon-Ho accepts an Oscar at the 2020 Academy Awards.

Bong Joon-Ho’s “Parasite” — a compelling exploration of class inequality in South Korea — has received near-universal critical acclaim. The first Korean film to win the prestigious Palme d’Or at Cannes, and the first non-English language film to receive the Outstanding Performance by a Cast award at the Screen Actors Guild (SAG) Awards, “Parasite” made history tonight when it also became the first non-English language film to win the Best Picture Academy Award.

In total, “Parasite” — which was released on Blu-Ray last week — received four of the six Academy Awards for which it was nominated: in addition to Best Picture, the film was awarded Best Foreign Language Film, Best Original Screenplay and director Bong Joon-Ho was awarded Best Director.

Prior to tonight, Bong Joon-Ho called out the narcissism of American Hollywood while claiming the Best Foreign Language Film prize at the Golden Globes. “Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films,” he said in his acceptance speech.

This is a truism many of us familiar with non-American film already recognize: amazing films are made around the world, and (whether in America or abroad) in languages other than English. Indeed, some of my earliest memories of of fantastic films are Chinese-language films introduced to me by my parents. And yet, only rarely do non-English films (even American-made ones like “The Farewell”) get recognized or celebrated by Hollywood — a trend that underscores the many ways that non-white films are still Other-ized.

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“Parasite” Blu-Ray Giveaway Contest

The cover image of the Parasite DVD/Blu-Ray

By now, you might have heard of this little movie called Parasite which has taken the Hollywood awards season by storm. If not, you should check out guest contributor Claudia Vaughan’s review of Parasite for this site.

Directed by Bong Joon-Ho, Parasite has received widespread critical acclaim, and has already won Best Foreign Language Film at this year’s Golden Globes, and the Outstanding Performance by a Cast at the Screen Actors’ Guild Awards. It is nominated for Best Picture at next month’s Oscars.

Parasite comes out on DVD/Blu-Ray next week on January 28th. In time for that release date, I am hosting a free giveaway of a Parasite Blu-Ray. Here’s all you have to do:

  1. Follow @reappropriate on Twitter.
  2. Write a tweet sharing a thought about how income inequality affects Asian Americans. Could be anything: the wealth gap, the gender pay gap, student loan debt, etc. Tag @Reappropriate and #ReParasiteGiveaway.
  3. That’s it! On January 28th, I’ll select a winner and send you your free copy of the Parasite Blu-Ray.

Get to tweeting!

Bong Joon Ho’s “Parasite” Manipulates Space to Spook Viewers and Make a Statement about Social Class

A scene from Bong Joon Ho's film, "Parasite".

By Guest Contributor: Claudia Vaughan

Bong Joon Ho’s films can be described as a genre in their own right: they play with the fantastical and the extreme to make assertions about society that leave viewers feeling deeply unsettled. While his worlds are sometimes quite outlandish, his characters and their pains are always very real and relatable. Such is the case with his latest film, “Parasite,” which Bong describes as a tragicomedy. Though “Parasite” does not use any supernatural elements, it is a major thrill ride that will have viewers nervously clutching their seats for the duration of the film.

Note: This review may contain minor spoilers for the film “Parasite”.

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Crazy Rich Asians and How Hollywood Constructs Race Under Global Capitalism

A screenshot from "Crazy Rich Asians".

By Guest Contributor: Alison Roh Park

This essay originally appeared on Medium.

Within six months of Crazy Rich Asians’ much anticipated release, I was physically assaulted by a White woman in furs on the 6-train in New York City. She shouted at me to go back to China, and shortly thereafter I was verbally assaulted on the 1-train by a musician/busker (and a middle-aged Black gentleman) whom I didn’t have a donation for. Ironically, this was all while I was seated across from two White women also wearing fur.

Asian American New Yorkers have the greatest internal wealth disparity than any other group. Chinese Americans are disproportionately represented under the poverty line, while headlines about massive Chinese real estate buys and a so-called U.S.-China trade war loom on every outlet. This plays out for urban Asian Americans on the hyperlocal level in New York City — for instance, in Sunset Park, Brooklyn, overseas Chinese real estate buyers and developers are gentrifying and displacing longtime Chinese residents of this historic neighborhood.

Meanwhile, Asian American women remain pointedly invisible. Shows like The Expanse and Top of the Lake: China Girl (literally — with the White feminist superstar Elizabeth Moss investigating the rape and disappearance of a virtually mute 12 year old Vietnamese girl) hinge on the idea and trope of “Asian Women” and as victims of sexual violence whose end is inevitable, while simultaneously obliterating them from the actual substance of the show.

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“The Farewell” and the Duality of Language: Finding Depth in What Can and Cannot Be Said

Scene from "The Farewell", directed by Lulu Wang and starring Awkwafina.

By Guest Contributor: Claudia Vaughan

Editor’s Note: Please note that this post may contain minor spoilers for the film, “The Farewell”.

The Farewell, A24’s latest film from Chinese-American director Lulu Wang, hit theaters earlier this month, packing a soft but powerful punch. At its core, the film examines what it means to be a caring, accountable family member – AND whether that can ever include being untruthful with your loved ones. The opening scene cheekily notes that the story is “based on an actual lie,” borrowing from real events in Wang’s own life centered around her family’s decision to hide news of her grandmother Nai Nai’s terminal cancer from her. (The story originally ran as an episode of This American Life before Wang began developing it as a feature).

The choice not to inform an elderly relative of his/her illness is commonplace in some Asian cultures, as relatives receive the diagnosis from the doctor first and then choose whether that information is actually shared with the patient. Oftentimes it is not, as is the case in The Farewell. Because of the family’s decision to keep Nai Nai’s diagnosis a secret from her, The Farewell quickly becomes a story of what can and cannot be said – both literally, due to language barriers, and figuratively, in terms of what information can be divulged to whom.

One might even say that language becomes a character in its own right, proving to be a source of power – the more of it you have, the more information you accumulate, but, on the other hand, the more responsibility you must then personally bear.

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