Song Kang-Ho 송강호 [“Broker”, “Emergency Declaration”]

[rubie]

 

May 26, 2019

 

Bong and Song: the double act behind Cannes victory

 

via The Korea Times

 

72nd Cannes Film Festival - Photocall after Closing ceremony - Cannes, France, May 25, 2019. Director Bong Joon-ho, Palme d'Or award winner for his film "Parasite" (Gisaengchung), and Song Kang-ho react. REUTERS/Jean-Paul Pelissier

 

CANNES (AFP) ― To give you some idea how good an actor South Korea's Song Kang-ho is, one of the first things director Bong Joon-ho did Saturday after he won the top prize at the Cannes was to drop to his knee and offer the Palme d'Or to his friend.

 

An actor who has become something of a national treasure, Song has starred in several of the divided country's greatest movies. He also shines at the heart of "Parasite" as the head of a family of penniless scammers in the darkly comic drama that brought Bong his historic Cannes victory. 

 

Song, 52, has made four films with Bong including the 2006 monster flick "The Host" and Bong's first English-language film "Snowpiercer", both of which were box office and critical smashes. 

 

"I rely on Song a lot," the director told a recent press conference in Seoul. "Working with him has allowed me to be more brave as a filmmaker, and take on more difficult challenges."

 

After starting his career on stage, Song made his first film appearance in 1996 in now-acclaimed director Hong Sang-soo's debut movie, "The Day a Pig Fell into a Wall."

 

Since then, he has appeared in more than 30 films and worked with top South Korean filmmakers including Park Chan-wook, Kang Je-gyu and Lee Chang-dong. Song has had roles in some of the most significant works in South Korean cinema's modern history. 

 

Director Kang Je-gyu's 1999 spy action film "Shiri" was the nation's first big-budget, Hollywood-style blockbuster, and outperformed "Titanic" at the South Korean box office that year. 

 

Connection with public

 

Song also appeared in highly-acclaimed director Park Chan-wook's "Joint Security Area" (2000), "Sympathy for Mr. Vengeance" (2002) and "Thirst" (2009), which won the Jury Prize at Cannes.

 

Over more than 20 years in film, Song's roles have ranged from an ill-equipped detective in Bong's "Memories of Murder" to a vampire Catholic priest in "Thirst."

 

He has also played a character loosely based on the life of South Korea's late former president Roh Moo-hyun ("The Attorney", 2013), and a cab driver who becomes unintentionally involved in the 1980 Gwangju Uprising ("Taxi Driver", 2017). 

 

That film was based on the Kim Sa-bok, a real-life taxi driver who gave a ride to Juergen Hinzpeter, a German journalist who reported on violent civil unrest in the southern city of Gwangju.

 

One of Song's strongest qualities is his versatility, said Jason Bechervaise, a professor at Soongsil Cyber University in Seoul.

 

"In cinema, a connection between the character and audience is crucial and this is where Song, in particular, shines," he told AFP.

 

"It's difficult to imagine films such as 'Taxi Driver' and 'The Attorney' resonating so powerfully without him.

 

"Viewers are inevitably drawn to his characters to such an extent that he is an immense draw at the Korean box office." (AFP)
 

 

Bong Joon-ho: 1st Korean winner of Cannes' top prize

Director becomes first Korean director to bring home top prize from Cannes

 

Director Bong Joon-ho, holding Cannes Palme d'Or award, reacts after winning the top prize for his latest film "Parasite" during the closing ceremony of the 72nd Cannes Film Festival in southern France, Saturday night. The director became the first Korean director to bring home the top prize at the world's most prestigious film festival. / Courtesy of Reuters-Yonhap

 

Spoiler

 

By Park Jin-hai The Korea Times

 

Korean auteur Bong Joon-ho won the Palme d'Or, with his black comedy "Parasite" at Cannes Film Festival in France, Saturday night. 

 

With that feat, Bong became the first Korean director to win the top prize at the world's most prestigious film festival, with a unanimous decision by its jury members. 

 

It was the second time for the 49-year-old director competing for the Palme d'Or award; his previous was with the 2017 film "Okja." 

 

"I'm sorry I didn't prepare this speech in French, but I didn't expect to win the Palme d'Or. I am truly honored. I've always been inspired by French cinema. I'd like to thank two directors ― Henri-Georges Clouzot and Claude Chabrol," Bong said right after receiving the award during the closing ceremony of the 72nd edition of the Cannes Film Festival in Cannes, southern France. 

"I was a little 12 year-old boy, and a huge cinema fan, when I decided I would be a director. I am amazed to have won this prize, which means a great deal to me."

 

"Parasite" is the seventh feature for the director known for acclaimed films like "Snowpiercer," "The Host" and "Okja." The film tells the story of two families with extremely different social backgrounds, one poor and one wealthy. The son of the impoverished family fabricates his education background and works as a tutor for rich family's children. The whole family of scammers one by one latch onto the rich family as parasites. 

 

In the following meeting with Korean reporters, Bong continued to tell how surreal the experience has been for him. 

 

"I thought this sort of thing would only happen during World Cup matches. I feel dumbstruck and everything is so surreal. The whole situation feels as if I'm in a fantasy film," he said. "Each time the name of the award winner was announced, I felt like I was jumping over hurdles. My heart ran wild with excitement, yet I was losing a sense of reality. As all the other names on the list were being called, with only us being left, I had this strange feeling, thinking what the heck is happening."

 

When "Parasite" premiered Tuesday, the director received an eight-minute standing ovation and rave reviews from critics. Variety said "A laugh turns into a snarl which gets stuck in the throat like a sob ― or an arrow through the neck ― in Bong Joon-ho's latest wild, wild ride," while Hollywood Reporter said, "Parasite is generally gripping and finely crafted, standing up well as Bong's most mature state-of-the-nation statement since Memories of Murder in 2003."

"It's such a unique experience. It's so unexpected. It took all of us sharing our experiences. We shared the mystery of the unexpected way this film took us through different genres and mixed them and spoke in a funny, humorous, tender way with no judgment of something so irreverent and urgent," Alejandro Gonzalez Inarritu, who headed this year's Cannes jury, said of the film's appeal. "It's so global but in such a local film. We were all fascinated by it since we saw it. It kept growing and growing."

 

Darcy Paquet, an American film critic who has been introducing Korean films to international movie fans, said, "Bong Joon-ho is such an imaginative director, and Parasite is so well-made and engaging that I think it will travel far internationally. It will be like the OldBoy of this era, but even bigger."

 

Starting in 2000 when acclaimed Korean director Im Kwon-taek entered the Cannes competition with "Chunhyang," a total of 17 Korean films, including "Parasite," have been selected to compete for the Palme d'Or. "Parasite" became the sixth Korean film to receive one of the main competition awards at the Cannes Film Festival. 

 

Im Kwon-taek took the best director award for "Chihwaseon" in 2002. Director Park Chan-wook earned awards twice: the Grand Prix, the second-most-coveted prize after the Palme d'Or, with "Old Boy" (2004), and the Jury Prize with "Thirst" (2009). Lee Chang-dong won for best screenplay with "Poetry" in 2010, while Jeon Do-yeon won the best actress for Lee's 2007 film "Secret Sunshine."

jinhai@koreatimes.co.kr 

 

 

[rubie]

 

May 26, 2019

 

Bong Joon-ho's films pursue balance of commercial, artistic values

 

By Yonhap via The Korea Herald
 

South Korean auteur Bong Joon-ho, who won the top prize at the 72nd Cannes Film Festival on Saturday, is known for works that cater to both commercial and artistic tastes.

 

His films often use metaphors, but they are not too difficult -- not only for film critics but also for audiences -- to understand. 

 

Throughout his filmography, he sheds light on chronic social issues like materialism and class division through analogy, and he never fails to cast a warm, good-humored eye over the weak.

 

(CJ E&M Film Business Division)

 

In his first feature, "Barking Dogs Never Bite," released in 2000, Bong conveyed his satirical message on South Korean society in a comical way. In the story of a shiftless college professor who kidnaps barking dogs in his apartment building, Bong contrasts an ordinary residential complex with the building's gloomy, bleak basement.

 

His 2003 crime-drama "Memories of Murder," based on the true story of notorious serial murders, was well received by both critics and audiences, helping Bong gain media and critical approval both at home and abroad.

 

Three years later, Bong came up with the smash-hit monster blockbuster "The Host," which was the highest grossing South Korean film at the time.

 

Inspired by an incident of toxic material being dumped at a U.S. military base in Seoul, Bong's big-budget film managed to maintain the tension among its scares, its laughs and its satire.

 

It was his first film to touch on environmental issues, which continue to be a key leitmotif of his work.

 

"The Host" led the versatile director to encounter the Cannes Film Festival for the first time, and it was screened at the Directors' Fortnight there.

 

Spoiler

 

(CJ Entertainment)

 

 

In "Mother," released in 2009, Bong turned his eyes toward human madness and horror. Cannes invited the movie to its official "Un Certain Regard" section.

 

Then he carried out some experiments. He went to Hollywood and directed the English-language science fiction action film "Snowpiercer" in 2013. Here, he illustrated social hierarchy through the image of the divided train, mixing humor, suspense and action, as well as social and environmental concerns.

 

In his 2017 action-adventure film "Okja," released on Netflix, he again brought to bear his criticism of life and capitalism.

 

Spoiler

 

(Moho Film-Opus Pictures-Stillking Films)

 

 

The Cannes-winning "Parasite" revolves around the poor family of Ki-taek. They live in a squalid, grubby basement and get involved in a string of mishaps after the sly son, Ki-woo, gets a job as a tutor for a moneyed family residing in an opulent, gaudy mansion.

 

His rendering of the rich-and-poor theme appealed to the Cannes jury and the media.

 

He described himself a genre movie director who doesn't like to follow the rules of genre films.

 

"I focus on the nuance of a situation," he said in a press conference at Cannes on Wednesday, answering a question about whether he intends to subvert certain genres in a movie. "People are familiar with categorizing movies into genres. But as a director, I'm not conscious of it." (Yonhap)

 

[rubie]

 

May 27, 2019

 

Bong Joon-ho wins Cannes Palme d’Or
‘Parasite’ director is first Korean to win the festival’s grand prize  

 

Source: INSIDE Korea JoongAng Daily

 

Director Bong Joon-ho holds his fist in the air to celebrate winning the Palme d’Or at the 72nd Cannes Film Festival for his film “Parasite.” Bong is the first Korean filmmaker to receive the prestigious award. [YONHAP]

 

Bong Joon-ho became the first Korean director to win the Palme d’Or at the 72nd Cannes Film Festival on Saturday for his latest film “Parasite.”

 

“I was just a timid, awkward film maniac who wanted to become a director ever since I was 12,” said Bong during his acceptance speech for the film festival’s highest honor. “I never thought this day would come where I would be the one holding this trophy. Thank you.” 

 

At a press conference for the film held in Seoul in April, Bong shied away from the possibility of winning the prestigious award. 

 

He said he thought that “Parasite,” which explores social class issues, was too specific to Korea for overseas audiences to fully understand, and that there were other prominent contenders for this year’s competition. 

 

“Sorry We Missed You” director Ken Loach and “Young Ahmed” directors Jean-Pierre Dardenne and Luc Dardenne are all two-time winners of the Palme d’Or. “A Hidden Life” director Terrence Malick, “Once Upon a Time in Hollywood” director Quentin Tarantino, and “Mektoub, My Love: Intermezzo” director Abdellatif Kechiche have all won the award before as well. 

 

Despite Bong’s concerns, the Korean sentiment that is portrayed throughout the film was one of the reasons why the director won the prize. 

 

“We all shared the mystery of the unexpected way this film took us through different genres and spoke in a funny, humorous, tender way - with no judgment - of something so relevant and urgent, so global in such a local film, with such a beautiful efficiency of media, and an understanding of what film really is,” said jury president Alejandro Gonzalez Inarritu at the post-ceremony press conference. Inarritu confirmed that Bong’s work received a unanimous decision by the jury. 

 

Bong started to make a name for himself with his debut feature film “Barking Dogs Never Bite” (2000), where he caught the attention of local audiences for its representation of social hierarchy and conflicts related to the generation gap. “Memories of Murder” (2003) was both a financial success and praised by the critics for its gripping serial killer story.

 

His third work, “The Host,” was a box-office monster. Over 10 million moviegoers went to the cinema to watch a creature portrayed using then-advanced CGI technology arise from the Han River to terrorize Seoul. 

 

After he became recognized by both local and international audiences, Bong recently worked with big-name Hollywood actors, such as Tilda Swinton, Jake Gyllenhaal, Steven Yeun and Chris Evans for his films “Snowpiercer” (2013) and “Okja” (2017). “Parasite” had the local media’s attention for being Bong’s first Korean-language movie after a 10-year hiatus. 

 

“Every time I came to Cannes the film [I was in] received an award. For ‘Secret Sunshine’ (2007), it was Jeon Do-yeon who won the Best Actress award, for ‘Thirst’ (2009), director Park Chan-wook received the Jury Prize, and now it is Bong’s turn,” actor Song Kang-ho said while he gave an interview at the festival. 

 

Spoiler

 

“The Host” (2006) was Bong’s debut at the 59th Cannes Film Festival through the Director’s Fortnight section. His fifth feature work, “Mother” (2009), was invited to screen under the Un Certain Regard section at the 62nd event. Finally, “Okja” was nominated to compete at the 70th event. In his fifth appearance to the acclaimed film festival and second nomination for the International Competition, Bong finally became the winner of the Palme d’Or. 

 

The Grand Prix, the second-highest prize, was given to director Mati Diop for her debut film “Atlantics.” She became the first black female filmmaker to compete in the festival and receive a prize. The Best Director award went to the Dardenne brothers for “Young Ahmed.” 

 

Bong’s award is especially meaningful for Korea, as this year marks the 100th anniversary of the birth of the Korean film industry. With the boost of the grand prize, the film’s distribution rights were sold in 192 countries, setting a new record amongst local films. The previous record was held by director Park Chan-wook’s “The Handmaiden” which was sold in 176 countries. 

 

President Moon Jae-in personally thanked the filmmaker for his achievement in a congratulatory letter he uploaded on social media. The president said he was curious about watching “Parasite” and “[the film] is an unforgettable present that Bong gives to all Korean audiences who have loved local films.” Local moviegoers’ excitement is growing as they wait for the film to premiere in Korea this Thursday. 

 

BY LEE JAE-LIM [lee.jaelim@joongang.co.kr]

 

 

[rubie]

 

May 27, 2019

 

Bong Joon-ho Becomes 1st Korean to Win Palme d'Or at Cannes

 

By Song Hye-jin The Chosun Ilbo
 

Director Bong Joon-ho poses with the Palme d'Or

for his film "Parasite" during a photo call at the

Cannes Film Festival in France on Saturday. /Courtesy of CJ E&M

 

Director Bong Joon-ho won the prestigious Palme d'Or at this year's Cannes Film Festival in France on Saturday for his film "Parasite," becoming the first Korean ever to receive the top prize.

 

"It's such a unique experience. It's so unexpected," said Mexican film director Alejandro Gonzalez Inarritu, who headed this year's jury. "It took all of us sharing our experiences. We shared the mystery of the unexpected way this film took us through different genres and mixed them and spoke in a funny, humorous, tender way with no judgment of something so irreverent and urgent. It's so global but in such a local film. We were all fascinated by it since we saw it. It kept growing and growing. It was a unanimous decision." 

 

When Inarritu and French actress Catherine Deneuve announced "Bong Joon-ho" as the laureate of the Palme d'Or at the closing ceremony, the crowd erupted in cheers. After receiving the trophy, an emotional Bong thanked the audience in French and paused to bask in the moment. He apologized for not preparing a speech in French, and continued in Korean.

 

"I was a timid film fanatic who decided to become a film director at the age of 12. I had never imagined that a day would come when I would hold this trophy in my hand," he said. Bong recalled that as a boy, being so shy made him stay at home and watch TV and films all night, dreaming of becoming a film director. "This year marks the 100th anniversary of the birth of Korean cinema, and Cannes has given a big present to Korean cinema," he added.

 

Bong also singled out actor Song Kang-ho, with whom he has worked continuously for over 17 years and who starred in "Parasite." "I would like to listen to what a great actor and my good companion Song Kang-ho has to say," said Bong as he invited Song to the stage. "I dedicate this glory to all actors in Korea who taught me patience, wisdom and passion," Song said.

 

Director Bong Joon-ho (right) kneels down to jokingly present actor Song Kang-ho with the Palme d'Or for their film "Parasite" during a photo call at the Cannes Film Festival in France on Saturday. /Getty Images Korea

 

Bong made his debut in 1994 with the short film "White Man," and has released numerous highly acclaimed feature films that sharply portray critical social issues of Korean society with satire and humor.

 

Although his feature film debut "Barking Dogs Never Bite" was not a commercial success, subsequent films achieved box-office success. "Memories of Murder" attracted some 5.5 million viewers, "The Host" 10 million, "Mother" 3 million, and "Snowpiercer" 9.35 million.

 

"Parasite" has been pre-sold to 192 countries, which is a new record for a Korean movie.

 

"Parasite" is Bong's seventh feature film, and revolves around two families from opposite social classes whose lives become entwined when a son from a poor family scams his way into a tutoring job in a wealthy family.

 

S. Korean film director Bong Joon-ho's 'Parasite' wins top honor at Cannes
 

Source: The DONG-A Ilbo

 

 

A South Korean movie has won the top honor at the Cannes Film Festival for the first time in the 100 years of the country’s film history. Director Bong Joon-ho grabbed the Palme d'Or at the 72nd Cannes Film Festival on Saturday (local time) for his black comedy movie “Parasite.”

 

Bong rejoiced at the honor, calling the award a “great gift” to mark the 100 years of Korean cinema this year. Noting that the film “Parasite” was an “amazing adventure” to him, the South Korean director gave the credit to the movies’ actors by saying that the artists who worked with him made the film possible. He also turned the spotlight to the leading actor, Song Kang-ho, calling him “the greatest actor and his partner.” Song said, “I give this honor to all respected actors in Korea who taught me patience, wisdom and passion.”

 

Bong was first invited to the Cannes Film Festival for his 2006 film “The Host.” Then, “Tokyo!” (2008) and “Mother” (2009) were invited to the Cannes’ “Un Certain Regard” category. The director debuted in the “In Competition” category with his Netflix film “Okja” in 2017. This year, his seventh feature film “Parasite” and second entry into the “In Competition” won him the Palme d'Or. 

 

“Parasite” is about an unexpected incident taking place as the oldest son of Ki-taek’s family, all unemployed, becomes a tutor for a student from a wealthy family, handling the universal issue of the gap between rich and poor.

 

Meanwhile, President Moon Jae-in said, "The leaf of the palm tree delivered to us at dawn today is a meaningful gift for our people who have loved the movie as a film and a high-level audience."

Seo-Hyun Lee baltika7@donga.com

[rubie]

 

May 27, 2019

 

South Korean director Bong Joon-ho (L) and actor Song Kang-ho answer reporters' questions at Incheon International Airport, west of Seoul, on May 27, 2019, upon returning home from Cannes, France. He won the Palme d'Or for his film "Parasite" at the 72nd edition of the Cannes Film Festival, the previous day. (Yonhap)

 

Cannes-winning 'Parasite' hits No. 1 in pre-sale tickets

 

SEOUL, May 27 (Yonhap) -- The Cannes-winning film "Parasite" is on its way to creating a sensation in South Korea, as its presale tickets outnumbered big-name movies.

 

With three days to go before the movie's opening, the data from the Korea Film Council showed that the flick has already sold more than 90,000 presale tickets as of Monday morning.

 

That accounted for 42.3 percent of all tickets reserved as of 9:10 a.m., while Walt Disney's live-action film "Aladdin" posted 19.6 percent. Local crime action movie "The Gangster, the Cop, the Devil," which has attracted more than 2.7 million viewers, came in third with 8.4 percent.

 

"Parasite," director Bong Joon-ho's seventh feature film, revolves around the poor family of Ki-taek, starring Song Kang-ho, who live in a squalid, grubby basement. They become involved in a string of mishaps after the sly son gets a job as a tutor for a moneyed family residing in an opulent, gaudy mansion.

 

It won the Palme d'Or at the Cannes Film Festival on Saturday, bringing home the competition's highest honor for the first time in Korean film history.

 

The movie will hit local theaters on Thursday.

[rubie]

May 28, 2019

 

Filmgoers Eagerly Await Release of Award-Winning Film 'Parasite'

 

Source: The Chosun Ilbo

 

 

Movie buffs are looking forward to the release of Bong Joon-ho's latest film "Parasite."

 

The film, which won the prestigious Palme d'Or at the Cannes Film Festival last week and became the first Korean film to receive the top prize, is set to hit local theaters later this week.

 

According to the Korean Film Council, the film has already set another record by selling some 111,627 pre-sale tickets as of Monday, after taking home the top prize at Cannes.

 

Industry watchers expect the film to surely attract more than 10 million moviegoers.

 

"Parasite" has been also pre-sold to 192 countries.

 

 

Palme d’Or winner ‘Parasite’ guarantees 52-hour workweek for film crew
 

Source: The DONG-A Ilbo

 

With Director Bong Joon-ho’s latest film “Parasite” winning the Palme d’Or at Cannes, his strict adherence to the 52-hour workweek policy in the shooting process is getting public attention. Considering the filming industry’s notoriety for excessive overtime, this bears much significance. 

 

In a recent interview, Director Bong said he had signed a “standard labor contract” with his staff members. “I’ve gotten the hang of working in compliance with the American regulations, working on ‘Snowpiercer’ (2013) and ‘Okja’ (2017),” said the South Korean director. “Since I’ve trained the 52-worksheet practice for eight years, there was no trouble working under the standard rules this time.” 

 

A standard labor contract is a contract that details workers and users in terms of working hours, overtime pay, contract term, and so on. It was once considered a practice to hire staff in the form of subcontracted contracts for a long time without a standard labor contract at a film production site. The staff was not recognized as a worker under the Labor Standards Act and did not have to keep the minimum wage and legal working hours.

　

However, the 2015 movie industry investors, producers, the Ministry of Culture, Sports and Tourism, and the Film Promotion Committee introduced standard labor contracts in accordance with the Tripartite Agreement. In 2014, the movie "International Markets" received a great deal of attention by keeping a 12-hour shooting time per day by signing a standard labor contract from the planning stage.

 

According to the Korean Film Council, 74.8 percent of filming staff said they had signed standard labor contracts in 2018. The proportion of such response has been surging from 35.3 percent in 2014 to 53.4 percent in 2016. The practice, however, is not entirely in place yet with half of the respondents who said no citing “refusal by employer” as reason. 

 

For producers, introducing the standard contract can lead to a rise in cost. But Director Bong said that it must be perceived as a “positive rise.” “As artist in charge, I am in a position to utilize manpower and give instructions, so it has always been pressure for me to see the amount of work hours and intensity increasing because of the decisions I had to make.” Mr. Bong explained. “Now I feel that the practice is being normalized at last.” 

 

“ Parasite” was completed in a total of 77 shootings. Director Bong’s detailed work style made it possible to produce the movie successfully while sticking to the legal work hours. “In Bong’s world, everything is calculated and built with extreme precision,” explained Song Kang-ho, the male lead of the Palme d'Or award winning movie. “Bong’s precision shone the most when it comes mealtimes. We worked in a very happy environment.”

Eun-Seo Park clue@donga.com

[rubie]

 

May 27, 2019

 

(News Focus) Song Kang-ho, icon of contemporary Korean cinema

 

SEOUL, May 27 (Yonhap) -- Clinching his first-ever Palme d'Or prize for his family satire "Parasite" at the 72nd Cannes Film Festival on Saturday, director Bong Joon-ho did not hesitate to share the honor with Song Kang-ho, the lead actor and his longtime friend.

 

When he went up to the stage to receive the golden palm trophy, he brought the actor to the microphone, saying, "I want to hear words from the greatest actor and my companion, Song, who is here with me now."

 

Bong's tribute to Song continued at a photo-call after the award ceremony. He knelt and presented the precious trophy to Song as if making a traditional marriage proposal.

 

This photo provided by AFP shows South Korean director Bong Joon-ho (R) and actor Song Kang-ho (L) posing with the trophy during a photo-call after winning the Palme d'Or for "Parasite" at the closing ceremony of the 72nd Cannes Film Festival on May 25, 2019. (Yonhap)

 

Their relationship started in 2003 when Song took the role of a detective who looks into serial murders in Bong's second feature film "Memories of Murder."

 

And he later became a regular of Bong's films. Along with "Memories of Murder" and "Parasite," they have worked four times together, the other two films being "The Host" (2006) and "Snowpiercer" (2013). Most of the movies have gained both popularity and critical acclaim.

 

His lilting manner of speaking and intensity of emotion blend well with Bong's style of humor and sarcasm that conveys a critical social message.

 

 

In the films, he has played a wide spectrum of roles ranging from a detective in an old-fashioned investigative style ("Memories of Murder") and a working-class father who desperately struggles to save his daughter from a monster ("The Host") to the designer of a giant train where the only survivors of a global, apocalyptic Ice Age are on board ("Snowpiercer").

 

Moreover, Song's fine portrayal of ordinary next-door neighbors and his avuncular image also stand out in films like "The Host," "The Attorney" (2013) and "A Taxi Driver" (2017), all of which were seen by more than 10 million people, a standard for a huge success in South Korea.

 

But the 52-year-old silver screen star did not always play comfortable and common characters. In "Joint Security Area" (2000) and "The Throne" (2015), he acted completely different roles convincingly and with sensitivity.

 

His eclectic acting style has appealed to many renowned South Korean filmmakers including Bong and Park Chan-wook, who worked with Song in three feature movies including "Thirst" (2009), which grabbed the No. 3 Jury Prize at Cannes.

 

Bong said Song's talent and verve helped him achieve the feat at Cannes.

 

"'Parasite' was an amazing adventure for me. Thanks to the artists, I could make this unique and fresh film," he said during the award ceremony at the film festival. "Above all, I couldn't shoot a scene without the greatest actor, Song Kang-ho."

 

brk@yna.co.kr

[rubie]

 

May 27, 2019

 

HanCinema's News

"Parasite" Seventh South Korean Film to Be Honored at Cannes Film Festival

 

Source: HanCinema.net

 

 

"Parasite" made history at the Cannes Film Festival this year by winning the Plame d'Or. Although "Parasite" was the first South Korean film to be granted the festival's highest honor, it is the seventh South Korean film to be granted some honor.

The first such film to be honored was "Strokes of fire" in 2002, which garnered a best director award for Im Kwon-taek. The award was as much for Im Kwon-taek's legendary history as a prolific director as for the film itself. "Strokes of fire" was his ninety-eighth film - he has since directed four more.

 

"Old Boy" won the Grand Prix in 2004, and went on from that moment to become a defining film for South Korean cinema worldwide. Jeon Do-yeon won the best actress prize for her work on "Secret Sunshine" in 2007, and has been a favorite of international film festivals ever since.

 

"Thirst" won the Jury Prize in 2009 and "Poetry" won for best screenplay in 2011. "The Handmaiden" won the Vulcan Award for best art direction in 2016. All of these films benefited from an increased international profile following their success at Cannes, and "Parasite" is likely to do the same.

 

Written by William Schwartz

[rubie]

 

Source: Pierce Conran

 

Tight as a drum and endlessly surprising, Bong Joon-ho’s richly deserving Palme d’Or winner PARASITE is scathing, tender, hilarious and as breathtaking as anything he’s ever done. Cinema of the highest order. Do go in cold if you can.

 

Source: Claire LEE

 

[rubie]

 

May 28, 2019

 

(News Focus) Can 'Parasite' capture Korean audiences?

By Kim Boram

 

SEOUL, May 28 (Yonhap) -- Winning at globally renowned film festivals may be honorable and helpful in promoting movies, but it does not always guarantee box-office dollars. And South Korea is no exception to this.

 

Fourteen feature films have received major prizes at the world's three largest film festivals -- Cannes, Venice and Berlin -- but their trophies did little to provide any boost to ticket sales.

 

That's probably because many people think movies that win prestigious prizes and critical acclaim are boring and unsavory, and even difficult.

 

Veteran director Im Kwon-taek's "Chihwaseon," which features a 19th-century Korean painter who changed the direction of Korean art, was hailed by critics and media after earning the best director award at Cannes in 2002. But only an estimated 400,000 watched the movie in local theaters.

 

In South Korea, average budget films seen by 5 million people or more are considered moderate successes and 10 million huge successes.

 

Lee Chang-dong's "Oasis," a story of romance between a mentally disabled man and a woman with cerebral palsy, was awarded two prizes at the 2002 Venice International Film Festival, but it fell flat at the box office.

 

His 2007 "Secret Sunshine," which won the best actress award at Cannes, gained more popularity than the previous one but only attracted 1.7 million.

 

In this photo provided by EPA, South Korean director Bong Joon-ho speaks at the closing ceremony of the 72nd Cannes Film Festival in Cannes, France, on May 26, 2019, after winning the coveted Palme d'Or for his movie "Parasite." (Yonhap)

 

In 2004, two big-name directors shined on the international stage. Park Chan-wook was awarded the second-highest honor at Cannes with his mystery thriller "Old Boy" and Kim Ki-duk's "Samaritan Girl" also finished runner-up at the Berlin Film Festival.

 

But the films were not box-office successes in their home country, although Park's "Old Boy" lured as many as 3.2 million people. In the same year, on the other hand, action blockbusters "Silmido" and "Taegukgi: Brotherhood of War" each sold some 11 million tickets.

 

Another of Park's Cannes-awarded films, "Thirst," released in 2009, logged a mere 2.2 million.

 

In 2012, Kim Ki-duk became the first South Korea director to receive the top honor at Venice for his drama "Pieta," known for mixing Christian symbolism and highly sexual content. But it sold just 630,000 tickets in South Korea.

 

But many people expect Bong Joon-ho's black comedy film "Parasite," the first Korean movie ever to win the top honor at Cannes, will be different from the previous award-winning films.

 

Local film critics noted that Bong has kept his ear to the ground and measured up to people's expectations. His films are not too difficult -- not only for film critics but also for audiences -- to understand his messages and metaphors.

 

Throughout his filmography, he sheds light on chronic social issues like materialism and class division through analogies, and he never fails to provide a warm, good-humored view of the weak.

 

His well-rounded, well-balanced films have appealed to Korean audiences, while he became one of the most sought-after directors from international movie festivals.

 

His 2003 crime-drama "Memories of Murder," Bong's second feature film, sold more than 5 million tickets, and "Snowpiercer" attracted over 9 million spectators. His No. 1 hit, "The Host," surpassed the landmark 10 million in 2006.

 

Moreover, "Parasite" is a genre movie, Bong's forte, starring Song Kang-ho, Bong's regular and one of the most bankable actors in South Korea. The actor also acted in Bong's smash-hit movies of "Memories of Murder," "The Host" and "Snowpiercer."

 

In "Parasite," Song plays the role of a father of a poor family living in a squalid, grubby basement. They become involved in a string of mishaps after his sly son gets a job as a tutor for a rich family residing in an opulent, gaudy mansion.

 

South Korean movie fans are also looking forward to the Thursday release of Bong's latest work.

 

The family satire had already recorded 210,000 presold tickets as of Tuesday afternoon, two days before its release.

 

The number accounted for 50 percent of all tickets reserved as of 12:00 p.m., while Walt Disney's live-action film "Aladdin" posted 21.8 percent.

 

"Parasite" is expected to be shown on more than 1,000 screens nationwide on the opening day, and the number could rise depending on ticket presales.

 

It has been sold to a record 192 countries, breaking the previous record of 176 set by Park Chan-wook's "The Handmaiden."

 

"'Parasite' is a movie that well strikes a balance between commercial and artistic values," Yoon Sung-eun, a film critic, said. "This will provide audiences a fascinating cinematic experience that crosses various genres and a message of social issues like the rich and poor."

 

A movie theater in Seoul posts posters of "Parasite," which won the top prize at the Cannes Film Festival, on May 26, 2019. The film is slated to be released on May 30. (Yonhap)

 

brk@yna.co.kr

[rubie]

May 29, 2019

 

Press event for film ‘Parasite’ held Tuesday

 

Source: The DONG-A Ilbo

 

“I could erase fear for cinematically novel developments thanks to my colleagues, and a great ensemble with them helped me act,” said Song Kang-ho.

 

Bong Joon-ho’s black comedy film “Parasite,” which became the first South Korean film to win the Palme d’Or at the Cannes Film Festival, was first released for press in South Korea Tuesday. The press event held in Seoul was attended by director Bong Joon-ho and main actors to talk about behind-the-scenes stories and messages of the film, which crosses through different genres.

 

Choi Woo-shik and Park So-dam, who starred in the film as Ki-taek (Song Kang-ho)’s son and daughter, said that they enjoyed the filming and it felt like they were doing it with real family members. “It was fun and I was so happy as if they were actually my family,” Choi said.

 

“From the moment I read a scenario, I felt like Ki-jeong’s lines were just mine and wanted to play this character right away,” Park said. “I was worried at first because this was the first time for me to work on such a big film, but every single scene was enjoyable and precious,” Jang Hye-jin, who starred as Ki-taek’s wife, said with tears welled up in her eyes.

 

Song, who led the movie until the very last scene with his signature acting, asked the audiences not to forget the message that “Parasite” tries to convey to the public.

 

“The film has invisible elements such as ‘smell’ or ‘goodness,’” Song said. “I hope that, while enjoying the movie to the fullest, we can have an opportunity to look back on ourselves and think about whether we have locked ourselves up in society.”

Seo-Hyun Lee baltika7@donga.com

[rubie]

May 29, 2019

 

(Movie Review) Bong Joon-ho's 'Parasite' depicts a microcosm of Korean society

 

By Kim Boram

 

SEOUL, May 29 (Yonhap) -- Bong Joon-ho's "Parasite" tells a tragicomic story of two families, one rich and one poor, who become entangled in a string of mishaps. But there is more to this film than that.

 

"Parasite" hooks its audience with laughs early on, then segues to fine-tuned suspense, mystery and horror. The gears change so quickly and so smoothly that viewers don't even notice until the end.

 

The movie starts by depicting the miserable life of Ki-taek (played by Song Kang-ho)'s family, living in a ramshackle semi-basement. They look for a few bars of free wi-fi and eke out a living working for peanuts. They have no hope that their lives will improve.

 

But change does come as Ki-woo (Choi Woo-shik), Ki-taek's college-age, quick-thinking son, gets a chance to take over his handsome friend's job tutoring the teenage daughter of a rich businessman, Mr. Park (Lee Sun-kyun).

 

With forged credentials, Ki-woo enters the opulent mansion somewhere on an uptown hill and meets Mr. Park's pretty but gullible and unworldly wife, Yeon-kyo (Cho Yeo-jeong).

 

 

The wily Ki-woo passes the interview to take on the love-struck daughter and spots an opportunity to also get his sister, Ki-jung (Park So-dam), a job in the spacious granite villa.

 

The sibling's scam expands in a devil-may-care way to create two positions for their parents. Ki-taek becomes the driver and Chung-sook, their mother, replaces the veteran housekeeper. All of them now live off Mr. Park's wealth.

 

From here, the film starts to expose the tensions between surface-level fineness and subterranean nuisance. Ki-taek's family seems to fall into a sweet illusion that they could escape their grotty, squalid semi-basement home or dream a co-existence.

 

But Mr. Park, who is gentle and demure, heaps praise on his new driver for not "crossing the line," although he often complains of Ki-taek's unpleasant odor, which is a prevalent metaphor throughout the movie.

 

It is more devastating and frustrating that everything goes wrong and crashes down due to the insurmountable class division and a struggle among the poor.

 

Bong said he wanted to tell a story about a stratified society through two families at the extreme ends.

 

"Family is the very basic unit of a society and the most common group of people around us," Bong told reporters after a media preview in Seoul. "I tried to illustrate the lives of the two extreme families without using socioeconomic words, like polarization."

 

The eclectic director fused a lot of genres and threads from his previous works into this one, bringing up images from "Memories of Murder," "The Host," "Mother," and "Snowpiercer."

 

His sarcastic message comes through clearly, as the film's characters, candid cinematography and artful mise-en-scene effectively show the sharp contrast between the haves and have-nots.

 

But the underlying humorous tone and warm eyes on the destitute family help lessen the film's caustic tongue that makes viewers uncomfortable.

 

The winner of Palme d'Or at the 72nd Cannes Film Festival, "Parasite" opens in South Korean theaters Thursday.

brk@yna.co.kr

[rubie]

May 29, 2019

 

Bong Joon-ho's Prize-Winning 'Parasite' Premieres in Korea

By Hwang Ji-yoon The Chosun Ilbo

 

Bong Joon-ho's Palme d'Or winning film "Parasite" premiered in Korea on Tuesday.

 

Along with Bong, the stellar cast including Song Kang-ho, Lee Sun-kyun, Jo Yeo-jeong, Choi Woo-shik, Park So-dam and Jang Hye-jin attended a press preview at a theater in Yongsan, Seoul.

 

But Bong said winning the top prize at the Cannes Film Festival last week "is already history to me." Instead, he said he wants to hear what viewers have to say about the film and added, "I am going to go to cinemas in a little disguise whenever I have some spare time to see what audiences really think of the film."

 

Six screens with a total seating capacity of 1,200 were reserved for the preview but there was hardly an empty seat.

 

The fable-like comedy revolves around two families whose lives become intertwined when the son from a poor family scams his way into a tutoring job in a wealthy family.

 

Bong explained he departed from a thought to "create a film dealing with the bipolarization of the rich and the poor through lives of a family, a basic unit as a microcosm of the larger society."

 

"The film is also about human dignity, which allows people a space to dream of co-existence instead of being forced to live off others," he added.

 

Some of his fans may be disappointed as "Parasite," unlike his previous works, lacks the symbolic depth that allow for multiple interpretations, opting instead to have characters explicitly deliver the film's key messages. But others may prefer being able to concentrate on the story's twists and turns without having to look out for hidden clues.

 

The New York Times on Monday mentioned "Parasite" as a possible Academy Award contender. "No Korean film has been nominated for the international Oscar before, but 'Parasite' is so strong it could even blow past that category to factor into directing and screenplay races if upstart distributor Neon plays its cards right," it wrote.

 

The film goes on general release on Thursday.

[rubie]

May 29, 2019

 

Body odor class gap guided Bong Joon-ho's 'Parasite'

Director tells of Palme d'Or winning film, persona

 

By Park Jin-hai The Korea Times

 

Director Bong Joon-ho, who won Cannes' top prize with "Parasite," has said more about his film and actor Song Kang-ho, whom he calls his "persona."

 

His tragicomedy, telling the story of two families of extremely different social backgrounds, one poor and one wealthy, allowed him to become the first Korean director to win the Palme d'Or last Saturday. 

 

Mentioning that the widening rich-poor gap is a worldwide issue these days, Bong said he wanted to evade the typical way of depicting the two different social classes. "It is a very familiar scene where those poor and righteous people with great a cause join forces to fight against those vile, greedy and violent rich people. But I don't think this reflects the reality," the director said during an interview with The Korea Times at a cafe in Seoul, Wednesday. 

 

"I wanted to feature the class gap in a more delicate and multi-layered manner. So the rich family couple has been depicted as well-mannered, elegant and naive sometimes. But, looking at them closely, the camera picks up their hysteric side as well. The poor family seemed to be ordinary in a way, but they are the ones who deceived people to take away others' jobs. People are not good or bad in their entirety. That way, I thought the characters would earn more reality."

 

"Body smell" works as a sharp tool to show the class gap, which functions as the seed for all tragedy that happens, Bong says. 

 

"In normal life, the rich and the poor don't share the same living space. On the same plane, there are sections for rich riders and poor riders and they are separate. The only time those of different classes can smell each other is when the poor work for the rich families as tutors, housekeepers and drivers," the director said. 

 

In "Parasite," the four poor scammers succeed in being hired and up close to the rich family. The young rich couple, played by Lee Sun-kyun and Cho Yeo-jeong, in their private conversation casually mention the "particular body odor that subway-riders emanate," saying the smell of subway commuters is different from that of rich people who only use fancy expensive cars. 

 

"Talking about one's body odor is taboo even among close friends, because doing so is viewed as very aggressive and rude. By talking about different smells, the film puts the class issue under the microscope. Through smells, the film's tension and suspense mount, which eventually makes a multi-layered foundation for the upcoming tragedy."

 

Regarding veteran actor Song, who plays the father of the poor family, the director said the actor encouraged him to move forward and try something new. Including "Parasite," Bong worked with the actor in four previous films. During the photo event after Bong won the Palme d'Or, the director knelt down to jokingly present the prize to the actor. 

 

"Song's acting performance has such power that sets the tone of the entire film. Many of my films tell strange, abnormal situations, like a creature appears in the Han River in The Host, and the story end without catching the serial killer in Memories of Murder; the actor's performance make audiences immersed in and believe the story that I tell," he said. 

 

"In my new film, there is this climax of emotional explosion. It is not something that people see in ordinary situations. With Song, I can have more room for my cinematic creativity. When I'm writing a script, imagining Song is in the role, I can become bolder and more confident."

 

Bong said he is planning to make two films of a similar scale to "Parasite." "While shooting my latest film, I thought that films the size of Parasite and Mother suit me perfect. So I'm planning to make one with a U.S. studio and another with a Korean studio with the similar scale. The latter one is actually the one that I wanted to make since the mid-2000s. It will be a scary story in Seoul, but cannot be categorized simply as a horror or thriller," he said. 

 

"Parasite" will hit local theaters Thursday.

jinhai@koreatimes.co.kr 

[rubie]

May 30, 2019

 

(Yonhap Interview) Bong Joon-ho puts every emotion into 'Parasite'

 

By Kim Boram

 

SEOUL, May 30 (Yonhap) -- Those who have seen director Bong Joon-ho's previous works, like "Memories of Murder," "The Host" and "Mother," may have been astonished at the films' fluid toggling between tones and genres and flush of emotional beats and rhythms.

 

In his latest black comedy film, "Parasite," which won the Palme d'Or at the 2019 Cannes Film Festival, such deft techniques by the 49-year old auteur seem to have reached their zenith.

 

"Earlier, I said that this movie has laughs, horror and sadness, all in one. These feelings come out as the story continues," Bong said in an interview with Yonhap News Agency. "Throughout the film, I wanted to revive those mixed and realistic feelings."

 

As he said, "Parasite," which hit local screens on Thursday, starts with humor as the camera closely depicts the grotty semi-basement home of Ki-taek (played by Song Kang-ho).

 

But as Ki-woo (Choi Woo-shik), Ki-taek's college-age, quick-thinking son, gets a job tutoring the teenage daughter of a rich businessman, Mr. Park (Lee Sun-kyun), the film starts to bring up intense jitters, fear and sadness.

 

He said the mixture of emotions comes from the reality that both families are common around us. But he refused to adopt the typical formula that poor is good and rich is evil.

 

"In the real world, there are no perfect victims, or completely kind people. They make mistakes and do wrong and get punished," said the director, who majored in sociology in college. "I tried to bring out the multidimensional nature of humanity and build up intricate emotions until the end."

 

Mr. Park is gentle and looks like the father of an equal, horizontal, modern-day family and the head of a profitable IT venture firm. But he uses a patriarchal and authoritative tone with his wife, and keeps complaining of his new driver Ki-taek's unpleasant odor and recalling the class division between them.

 

But Ki-taek and his family are not blameless. They cheat the wealthy family and push out the family's driver and housekeeper, who are also poor, to take over those meal tickets for themselves.

 

When these disparate groups of people are forced to live in proximity, they recognize the uneasy, embarrassing truths of each other.

 

"As Ki-taek's whole family live in Mr. Park's mansion, they witness the unadorned truth of the rich. They catch the nuance of Park's words," said Bong. "Here, viewers are convinced as well."

 

Such subtle, complicated sentiments explode in the film's climax, which resonates with viewers in various ways, he said.

 

"I think even an accidental clash has its own context," Bong said. "The film traces the path of the consequences of these two families becoming entangled."

 

He said he hopes "Parasite" gives audiences a lot to think about and wants to hear what they say.

 

"I'll go to theaters in disguise and watch the responses and reactions of Korean audiences," said Bong. "I'm sure they'll never recognize me thanks to my perfect disguise, and I just hope they enjoy the movie and think a lot."

 

brk@yna.co.kr

[rubie]

May 29, 2019

 

Herald Review

‘Parasite’ feeds on class rage, delivers thrilling ride

 

By Yoon Min-sik The Korea Herald        

 

Bong Joon-ho is just a brilliant storyteller. His films encompass the hard-hitting issues confronting today’s society and they reek of cynicism, yet they are just fun to watch. 

 

This is the difference between him and other directors, such as Kim Ki-duk, whose films are hard to watch: Bong’s films don’t rattle you and force you to think. They lure you in with interesting stories, get you hooked, then leave you lost in thought about what you’ve just seen as you leave the theater. 

 

This is why “Parasite,” a masterful, humorous and thrilling satire about social hierarchies, is not really the pinnacle of the Korean auteur’s magnificent career. It’s just the latest evidence of his genius.

 

“Parasite” / CJ Entertainment

 

The film begins with a poor, jobless family of four living in a basement dump. Patriarch Kim Ki-taek -- Song Kang-ho -- is a shiftless loser who is pushed around by his headstrong wife, Chung-sook (Jang Hye-jin). They have two children, son Ki-woo (Choi Woo-sik) and street-smart but cynical Ki-jung (Park So-dam).

 

When Ki-woo is out of cash and luck, his friend gets him a job as a tutor for a wealthy family consisting of Mr. Park (Lee Sun-kyun); his wife, Yeon-kyo (Cho Yeo-jeong); their teenage daughter, Da-hye (Jung Ziso); and her kid brother, Da-song (Jung Hyeon-jun). Live-in housekeeper Moon-gwang (Lee Jeong-eun) takes care of them all.

 

Charming Ki-woo wins the affection of the sweet but gullible lady of the house -- and then some from her smitten daughter -- and realizes that the wealthy Parks could be a meal ticket for his family. With devilish cunning, Ki-jung lands a job as an art tutor for Da-song, Ki-taek becomes their driver, and Chung-sook replaces the loyal Moon-gwang as their housekeeper.

 

The sequence of the Kim family hustling its way into the Park household is pure gold and is also classic Bong. The scenes are paced well and filled with energy, just enough to have the audience on the edges of their seats while still being lighthearted and funny. 

 

It’s these little sequences that build up the tension. They are also what make Bong such an efficient writer and director. He never wastes a scene -- even expositional scenes, such as one seemingly pointless part of “The Host” that has Park Hee-bong rambling about Gang-du’s childhood, which ultimately serves as a clever transition while revealing the character of the family.

 

Choosing a good scene is like choosing sweets in a candy store: There are just so many to pick from. Lee Jeong-eun and Jang Hye-jin are a joy to watch with their hilarious, sometimes borderline maniacal performances, and the young acting pair of Choi and Park really brought their A game. 

 

Lee Sun-kyun is an actor with the range and capacity to pull off a multilayered character and Cho seems endearingly lost as the lovable dunce.

 

But as always, Song’s performance is the cherry on top. While it’s hard to find anything bad to say about Bong, it is impossible to find fault with Song’s performance. He is an actor who perfectly understands the director’s intent and adds his own magic, as he did with the ingenious touch on the last scenes of another Bong production, “Memories of Murder.”

 

The amazing thing about Song is that, in some way, the audience “knows” his character before they even meet him. This is something that appeals to the Korean audience, but his acting is natural even as it carries a clear message.

 

Song’s interaction with Lee’s character and the thought process in his head, along with the impact on him of a “freak” incident that occurs in the third act, show in his facial expressions. Throughout the final act, Song overshadows everyone else, right up to the chaotic climax.

 

As for the film’s pacing, Bong has an amazing ability to relieve tension and pick up the pace at just the right moment. It feels like being on a mad, thrilling ride without noticing it. 

The director is known for the heavy social commentary in his films, which comes through in minute details, and this is the case in “Parasite” as well.

 

One such detail that stands out is the relationship between Ki-woo and Da-hye. At first glance, it looks like the 20-something man is taking advantage of a minor. But you gradually realize that he is doing so only because she allows it. Older, stronger and better educated, he is but a parasite who has latched onto a young member of the “royal” family -- a disposable and replaceable item, there to satiate her teenage fantasies. 

 

It is interesting, too, that Ki-woo and Ki-jung are given new names. The Park family doesn’t care about “Ki-woo” and “Ki-jung,” but only about “Kevin” and “Jessica,” who serve them from their “rightful place.” They matter only because they are told to matter, which makes the seemingly warm-hearted, gullible Parks the most intimidating people in the film.

 

The “parasitic” relationship between the haves and the have-nots, which is not confined to the Kim family, is chillingly relevant. The ending makes you think about their relationship and how it is perceived by the have-nots themselves, which in turn makes you think about the social class system and how eerily easy it is for us to accept it.

 

“This is a film about the respect and dignity of people. ... (Relationships between the wealthy and the poor) can go from coexistence to parasitism depending on how much you respect other people,” Bong said.

 

A great thing about a Bong film is that it may seem far-fetched and absurd, but when you think about it, it is freakishly grounded in reality. This makes it not only the director’s story, but each viewer’s story as well. 

 

“Parasite” is a perfect film or one that is very close to it. My only issue with all the praise being showered on the Palme d’Or winner at the Cannes Film Festival is that this isn’t the first time Bong has scraped the skies for cinematic immortality. This film is just Bong being Bong: on top of his game and pitch-perfect.

 

“Parasite” opens in local theaters Thursday.

 

By Yoon Min-sik (minsikyoon@heraldcorp.com)

[rubie]

May 30, 2019

 

Yonhap Interview

Actor Song Kang-ho attributes his new nickname to 'Parasite'

 

By Kim Boram

 

SEOUL, May 30 (Yonhap) -- Veteran actor Song Kang-ho, star of "Parasite," earned a new nickname -- "award fairy" -- last week after the film won the top prize at this year's Cannes Film Festival.

 

"It's so funny. I didn't even imagine me being called that," Song said, laughing, during an interview with Yonhap News Agency on Wednesday.

 

This image provided by CJ Entertainment shows actor Song Kang-ho. (Yonhap)

 

But his new moniker is inspired by a real fact.

 

He made his first foray to the French film festival with "The Host," also directed by Bong Joon-ho, when the film was screened at non-competition Directors' Fortnight in 2006.

Since then, three of his movies -- "Secret Sunshine" (2007), "Thirst" (2009) and "Parasite" (2019) -- made it to the Cannes' official competition list and all won awards.

 

"It's an honor that every time I visited Cannes, all my movies took trophies," he said. "And it's a glorious moment that I'm with director Bong and his 'Parasite,' the winner of the Palme d'Or, the highest prize."

 

The 52-year old was confident that "Parasite" could win the award, as he felt it is the pinnacle of Bong's nearly 20-year cinematic career.

 

"When I was watching Bong's first feature film, 'Barking Dogs Never Bite' (2000), at home, I laughed so much and fell off my couch," he recalled. "I didn't know who directed this film or Bong's name, but I wanted to see him."

 

Years later, Bong asked Song to be part of his second film, "Memories of Murder" (2003), and he agreed.

 

"The scenario was terrific. And his dramaturgy and rendering were superb at that time too," said Song, who has starred in four of Bong's films so far, including 'Snowpiercer' (2013). "Since then, I've never turned down his offer." 

 

He said the eclectic auteur, Bong, is good at bringing out his humorous and unsophisticated sides, like a next-door uncle. Park Chan-wook, also an internationally acclaimed Korean director, focused on the actor's intensity of emotions when he assigned him the role of a vampire priest in "Thirst."

 

 

"Each director has their own ideal, genuine views of me. I love all of them," he said. "Bong likes my indolent, shiftless and disheveled persona."

 

Song was one of the strongest candidates for the best actor award at Cannes last week, but the prize went to Antonio Banderas for "Pain and Glory."

 

"I'm not disappointed with the result. A movie with the third-best award and higher is not allowed to get another prize at Cannes. That's the rule," said Song, who attended the Cannes' closing ceremony to celebrate the award with Bong. "I was confident with the quality of 'Parasite.' The Palme d'Or has all of them including the best actor award."

 

Instead, he received a tribute by Bong at a photo-call session after the award ceremony at Cannes. The 49-year old director knelt and presented the precious trophy to Song as if making a traditional marriage proposal.

 

"I felt honored and grateful that one of the greatest directors did that for me," he said. "He didn't say a word. But I appreciate his sincerity a lot."

 

brk@yna.co.kr

[rubie]

May 31, 2019

 

Cannes-winning 'Parasite' opens strong in S. Korean box office

SEOUL, May 31 (Yonhap) -- Cannes-winning "Parasite," directed by Bong Joon-ho, took off with unstoppable momentum and topped the local box office on the first day of its release.

 

The family satire attracted some 568,000 viewers on Thursday, sharply outnumbering the runner-up, Disney's live-action film "Aladdin," with 74,000, according to data from the Korean Film Council. It showed on 1,783 local screens, with 8,263 viewings on the day.

 

The film, starring Song Kang-ho, is expected to hit a cumulative total of 1 million on Friday as it posted more than 520,000 pre-sold tickets as of 8:30 a.m. The number accounts for 69.5 percent of all tickets reserved.

 

Along with the prestigious title of being the first South Korean movie to clinch the Cannes' highest award, the Palme d'Or, "Parasite" seems to appeal to Korean viewers with its unexpected plot and a mixture of suspense, horror and humor.

 

"Parasite," Bong's seventh feature film, revolves around the poor family of Ki-taek who live in a squalid, grubby basement. They become involved in a string of mishaps after the sly son gets a job as a tutor for a moneyed family residing in an opulent, gaudy mansion.

 

The image provided by CJ Entertainment shows a scene in "Parasite." (Yonhap)

 

brk@yna.co.kr

 

 

'Parasite' sweeps local box office

People buy tickets for the award-winning movie "Parasite" directed by Bong Joon-ho at a ticket kiosk in a theater in Seoul, Thursday. Nearly 570,000 tickets were sold for the film's premiere here. Yonhap

 

By Park Jin-hai The Korea Times

 

Korean auteur Bong Joon-ho's Cannes Film Festival award-winning movie "Parasite" swept the local box office on its opening day Thursday. 

 

Fanned by its Palme d'Or crown and moviegoers' high expectations for the director, "Parasite" attracted ab audience of almost 570,000 on its opening day, easily surpassing that of runner-up "Aladdin" with 74,000, according to data from the Korean Film Council. 

 

Given the real-time reservation rate for the film on its second day remains at 70 percent, and that audiences have left mostly positive reviews, the local industry is expecting "Parasite" to become a box office hit. 

 

The reservation rate is similar to that of "Train to Busan" and "Along with the Gods," smash box office hits that accrued more than 10 million viewers. 

 

Bong's tragicomedy is about two families of extremely different social backgrounds, one poor and one wealthy. 

 

"It is a tragedy disguised as a comedy," one audience member tweeted. "It reveals the bare face of our society today. While I was watching the film, I had this uncomfortable feeling I was watching the truth that people want to ignore. Although I get angry at the social structure issue, in one corner of my mind, I was also wishing that I could be in the rich family's shoes." 

 

Another audience member, who gave the film a 10-out-of-10, said: "I was shocked by my own double standards." 

 

Many moviegoers tried to find clues for the symbolism the director had embedded in his film, saying they want to watch it more than once. 

 

So far, many Cannes prize-winning films have not matched this success at the box office. 

 

Park Chan-wook's neo-noir action thriller "Oldboy" (2004), which received the Grand Prix, the second-highest Cannes prize, earned the best audience response, attracting 3.26 million. 

 

Lee Chang-dong's "Secret Sunshine," which gave Jeon Do-yeon the best actress award at Cannes, followed with 1.7 million. For Lee's 2010 film "Poetry," which won the Cannes best screenplay award, only 220,000 people watched the film in local theaters. 

 

However, industry watchers expect it will be different this time, because Bong has been acclaimed for artistry and market potential. 

 

With the exception of his debut film "The Dog of Flanders," most of his movies have been box office successes. "The Host" (2006) attracted more than 13 million viewers, while "Snowpiercer" (2013) gathered 9.4 million. His adults-only film "Mother" gained a local audience of more than 3 million. 

jinhai@koreatimes.co.kr 

[rubie]

May 31, 2019

 

Toggle Viewers Can Now Stream Korean Blockbusters With tvN Movies
To mark the launch, tvN Movies is offering four free movies to stream. 
 

By DOUGLAS TSENG TODAYonline

 

Good news for fans of Korean movies!

 

Starting from today (May 30), you can access the extensive and expanding library of tvN Movies, the world's first and only Korean blockbuster movie channel — from well-loved classics to contemporary dramas. New titles will be added every month.

 

To subscribe, you can choose between the recurring package at $5.90/ month or the six-month package at $4.32/month (prepayment of $25.90 is required). With the latter option, you save $9.50 overall.

 

As a taster, tvN Movies is offering four free titles on Toggle, each running for a week: Lucky Key (May 30-June 5); Miss Granny (June 6-12); Keys to the Heart (June 13-19); and The Good, The Bad and The Weird (June 20-26).

 

The Toggle app is available on iOS and Android devices. Download the free app at AppStore and Google Play. To subscribe to tvN Movies, click here.

 

Here are some of the must-see titles on tvN Movies...

 

Be With You
This tearjerker — a remake of the 2004 Japanese film — stars Son Ye-Jin as a dead woman who returns from the grave to reunite with her husband (So-Ji-Sub) and tween son (Kim Ji-Hwan).

 

A Taxi Driver

 

This 1980-set drama — Korea’s Oscar submission for Best Foreign Language Film — stars Song Kang-Ho as a cabbie hired to chauffeur a German journo (Thomas Kretschmann) covering the pro-democracy protests in Gwangju.

 

Midnight Runners
Action-comedy starring Kang Ha-Neul and Park Seo-Joon play trainee-cop buddies embroiled in a kidnapping conspiracy during their night off. Just lovely.

 

The Good, The Bad and The Weird
Inspired by Clint Eastwood’s The Good, The Bad, and the Ugly, this 2008 actioner stars Lee Byung-Hun, Song Kang-Ho and Jung Woo-Sung star as feuding treasure hunters in WWII-era Manchuria.

[rubie]

Source: CJ Entertainment