[Movie 2019] Parasite, 기생충 - First Korean film to win Palme D'or, Golden Globe, SAG, BAFTA, and Oscars

[rubie]

January 31, 2020

Parasite director Bong Joon-ho: 'Korea seems glamorous, but the young are in despair'

After a sojourn in Hollywood, the film-maker went back to South Korea to do his next film – and produced an undisputed masterpiece. Why is his stunning critique of the class system striking chords all over the world?

 

Steve Rose The Guardian
 

Bong Joon-ho … ‘The Oscars are very local.’ Photograph: Sarah Lee/The Guardian

The past year has been a whirlwind for Bong Joon-ho, and he is still in the midst of it. His movie Parasite has whisked him to places few directors – and certainly no South Korean director – have been before. It started with winning the top prize at the Cannes film festival last May, and the momentum has not let up: critical adulation, box office success, US talkshow appearances and a ridiculous 170 awards and counting.

 

And not just not just awards in the “foreign film” categories; Parasite is the first foreign-language film to win the Screen Actors Guild’s coveted ensemble performance award. It is also up for six Oscars, including best picture and best director. Before, it was only connoisseurs who appreciated Bong’s singular output – including Donald Glover, Edgar Wright, Guillermo del Toro and Quentin Tarantino. Now there’s a whole online “#BongHive” sharing memes, news and general love about the 50-year-old film-maker. He’s this season’s must-have selfie for Hollywood stars to brandish on Twitter. Even Bong’s ever-present interpreter, Sharon Choi, has become a minor celebrity.

Bong has kept his feet on the ground throughout. He brought his eight-minute standing ovation at Cannes to a close because he was hungry. Similarly, he described the Oscars as no big deal because they are “not an international film festival. They’re very local.”

 

When we meet in London on a rainy, wintry morning, Bong is looking pretty windswept. His bouffant mop of hair is just about back in place, but he is wrapped in a big scarf, and has a cough. “The most difficult part has been the double, triple jetlag,” he – or rather Choi – says. Bong understands English and speaks it a little, but prefers to answer in Korean, trusting her to translate the nuances. “Physically, it has been really horrible but right now I’m doing good.”

 

Bong is no wide-eyed ingenue, though. His two preceding films, 2017’s Okja and 2013’s Snowpiercer, both effects-heavy sci-fi tales, were primarily in English and featured the likes of Chris Evans, Tilda Swinton, Jake Gyllenhaal and Ed Harris. He loves British and Irish actors, he says, not to mention British cinema – he claims to have watched Hitchcock’s Psycho at least 50 times. He has also been around the Hollywood block long enough to have had a run-in with Harvey Weinstein – of which more later.

 

The irony that Bong has scored his biggest success by returning to his native country and tongue is not lost on him. “I actually came up with this idea back when I was working on Snowpiercer,” he says. “It wasn’t as if I was motivated to return to Korea and do a Korean-language film, although I did want to pack this film with very Korean details.” There is a great deal of local specificity in Parasite, from its reference to a craze for opening Taiwanese pastry shops to an invented dish of packaged instant noodles mixed with sirloin steak (which has, of course, become a real-life trend), but Parasite is that rare “local” film that has struck a resounding global chord.

 

Spoiler

Parasite … an interrogation of the entire capitalist system? Photograph: Asia Pacific Screen Awards

 

Parasite is a story full of spoilable surprises. Suffice to say, the setup contrasts two Seoul families at opposite ends of the class ladder. The Kims (led by Bong’s regular lead actor, Song Kang-ho) live in a semi-basement hovel in an alley that doubles as a public toilet; the Parks live in a minimalist palace on a Seoul hilltop. Things kick off when the son, Kim Ki-woo, becomes an English tutor to the Parks’ teenage daughter. Sensing an opportunity, the Kims set about replacing the Parks’ domestic staff one by one, pretending not to know each other. But, needless to say, the plan does not come off perfectly.

“Korea, on the surface, seems like a very rich and glamorous country now, with K-pop, high-speed internet and IT technology,” Bong says, “but the relative wealth between rich and poor is widening. The younger generation, in particular, feels a lot of despair.” Just as there are people living in tents just around the corner from where we are in central London, so there are homeless people sleeping rough around Seoul’s central station, he says. “People who are in society’s blind spots.”

 

Parasite is not a simple tale of rich v poor. No one is totally innocent or guilty. Bong describes the film as “neutral”. He points out that Mr Park, whom he likens to Mark Zuckerberg, accrued his wealth through honest hard work. “He’s not particularly greedy, it doesn’t feel like he became rich by doing bad things.” At the same time, though, the Parks repeatedly express their contempt for the lower classes, even complaining that they smell different.

 

But the hard-up Kim family are also hard-working, albeit to more devious ends, and, in contrast to the atomised Park family, they are very unified. “That was one of the things I wanted to talk about with this film,” Bong says. “It’s not as if they have shortcomings or they are lazy. It’s just that they can’t get proper jobs.” He references a conversation in the film about how 500 college graduates applied for a single job as a security guard. “That’s not an exaggeration; it’s based on a real article I read.”

 

In that sense, Parasite could be taken less as a criticism of the class system than a “neutral” interrogation of the whole capitalist system. Is exploitation an inevitable outcome? Is there a better alternative? “People have to maintain mutual respect towards each other,” says Bong. “And this film deals with a situation where that minimal amount of respect you should have towards another human being is completely destroyed and ignored.”

 

‘Of course, my films did make a lot of money, but I don’t know if you could call me rich.’ Photograph: Sarah Lee/The Guardian

Bong is as fascinated and baffled as anyone by how Parasite has taken off. “A lot of people say it’s a universal story because it’s about the gap between rich and poor, but I don’t think that’s all the answer,” he says. “I think this film has done so well because it appeals in a very cinematic way, as a film in itself. I really want to take time to look back at what that cinematic appeal was.”

 

Parasite isn’t just a great story; it is a great story brilliantly told. The pieces all seem to fit together: the performances, the structure, the meticulous design, the symbols and symmetries. The visual storytelling is so fluent, it barely needs subtitles, and Bong throws in a few of his trademark slow-motion scenes of extreme mayhem. But one of the director’s defining characteristics, for which the #BongHive adore him so much, is his uncanny ability to switch between tones and genres most western film-makers regard as mutually exclusive – often within a single scene. Parasite defies categorisation. It is a family drama, a black comedy, a suspense thriller, a class satire, even a domestic horror. That Hitchcock influence is clearly detectable, as are many others, but he has created a genre that is his own.

 

Social division is a theme that runs through much of Bong’s work, and, despite his avowed neutrality, he tends to favour the underdogs. His 2006 film, The Host, for example, also focused on a poor but loving family running a food stall, again led by Song. They take on a mutant fish-monster accidentally created by pollution from the US military in Seoul’s Han River. In Okja, it was a down-to-earth country girl who battles a dystopian corporation to save her only friend, a strangely adorable giant mutant pig. Snowpiercer, adapted from a French graphic novel, stages a class revolt on board a train containing the entire postapocalyptic population of the world – a horizontal counterpart to Parasite’s vertical class stratification. Chris Evans leads an assault by the have-nots at the rear on the privileged passengers dwelling at the front.

 

It was Snowpiercer, incidentally, that led to Bong’s run-in with Weinstein. The disgraced mogul acquired distribution rights to the film in 2012. Bong knew in advance of Weinstein’s “Harvey Scissorhands” reputation, and, sure enough, the producer chopped 25 minutes out of Snowpiercer. But Bong pushed back. At one stage, to retain a scene involving fish-gutting, he invented a lie about how the scene had personal meaning because his father was a fisherman. After bad test screening results for Weinstein’s cut, the mogul ultimately went with Bong’s original version, although it never had a UK release. Bong had no personal relationship with Weinstein to speak of, he says. Or, if he did, he would rather not get into it. “Because he was so high up and busy, I didn’t get to see him often. I only met him a couple of times in his editing room and in his office.”

 

Bong’s father is actually an art teacher. He places himself in the middle of Korea’s social ladder. “I grew up in a middle-class family. Even in terms of real estate, the house that I grew up in is in the middle – between the semi-basement home and the rich house you see in the film. I was really close with friends and relatives from both classes.” Parasite was inspired by his own experience tutoring a boy from a much wealthier family – at the introduction of his then-girlfriend, who was already tutoring the boy in English.

 

Surely after the success of his movies, Bong must be pretty well-off himself these days? “I’m not that rich!” he laughs. “I live in an apartment on the ninth floor. In terms of size, it’s probably around a quarter of the size of the house in the movie.

 

Spoiler

Okja … another take on social division.

Bong first came to international prominence in the early 00s as part of a wave of exciting new directors emerging out of South Korea, including Park Chan-wook (whose Oldboy also won a prize at Cannes), Lee Chang-dong, Kim Jee-woon and Kim Ki-duk. As with Bong, these film-makers seemed to have something fresh to offer. The stories were often dark and gruesome, but told with technical finesse, clearly influenced by Hollywood as well as Asian cinema, and unafraid to switch up tone and genre.

Spoiler

 

Bong’s second movie, Memories of Murder, was based on the real-life hunt for a serial killer in the 1980s, who had never been caught. It is a window on to how different life must have been in the South Korea of his childhood: military dictatorship, civil unrest, inadequate public services. Under permanent threat of attack from the North, schools hold drills for gas attacks, and whole towns are subjected to “blackout drills” at night. Bizarrely, the real-life killer was recently brought to justice. “One of his cellmates said he watched the movie a couple of times, but we don’t know if that’s true.”

 

Even within this grim premise, Bong finds moments of absurd comedy in the police investigators’ incompetence. “It’s not as if we were trying to make the audience laugh; it just really reflects the absurdity of Korea in the 1980s,” says Bong. “The laughter has a tinge of sadness to it.” It is a similar story with Parasite, he suggests. “It reflects that absurdity of our current times. The foolishness of this era of polarisation.”

Perhaps this is a particularly Korean state of mind? “There is this collective anxiety,” he says. “Because war and separation of families, these are not abstract ideas to us. Even my mother’s sister in the North. These basic units of society and family are damaged, and Korea has spent decades with those consequences. So there’s a unique hysteria prevalent in Korean society.”

 

Whether or not it is a national trait, that element of bittersweetness seem to run through all of Bong’s work. It is never one thing or the other; it’s usually both, from Parasite’s steak-and-instant-noodle recipe to slapstick comedy in the face of serial killers and nuclear annihilation. Even Parasite’s world-conquering victory lap Bong regards with a level-headed ambivalence: “It’s kind of like a side job for me as a director,” he says. “My main job is not promoting a film, it’s writing scripts, and, of course, I’m doing that right now, in hotel rooms and on flights, but it hasn’t been easy. So there’s a duality with this entire process. Of course, it’s great and exciting, but I’m also desperate to return to my main job as soon as possible.”

 

 

Source: Sight & Sound

 

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Source: Parasite Gifs

 

Source: Fandango

 

Source: @sourbhsaidso

 

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Source: Parasite

 

Source: Neon

 

Source: KoreanUpdates!

 

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Why Parasite deserves to win Best Picture < click to read

Source: Jason Bechervaise // Soompi

 

 

[Helena]

JTBC PLUS | 2020. 02. 07. 1:29 AM

 

"Parasite" director takes group photos with world cinema's giants

 

 

Director Bong Joon Ho of "Parasite" is under the spotlight after the picture of him together with veterans of the world's cinema circle has been revealed.

On February 7, on the personal SNS, "Joker"'s director Todd Phillips uploaded a photo he took at a dinner party for the Oscars candidates. Director Bong Joon Ho is also in that picture.

Director Todd Phillips also posted a status, "This is wonderful. I met Susanne Bier, Steven Spielberg, Bong Joon Ho, Kimberly Peirce, Pedro Almodóvar, Noah Baumbach, Greta Gerwig. Even Down Hudson and David Rubin from Oscars also showed up. It was a very special night."

In the photo, director Bong Joon Ho is standing next to Steven Spielberg. The image of director Bong standing side by side with the giants of the world film industry, who are difficult to gather in one place, is attracting the public's attention.

On the other hand, the "92nd Oscars" will be held at Dolby Theatre, Hollywood, Los Angeles, USA on February 9 (US time). The movie "Parasite" has been named in the nomination list of such major categories as Best Picture, Best Director, Best Original Screenplay, Best Production Design, Best Film Editing, and Best International Feature Film.

 

Reporter Park Jung Sun /park.jungsun@jtbc.co.kr
Everything Idol, Everyday Exclusive
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February 7, 2020

 

'Parasite' has collected 55 awards at 57 film fests

SEOUL, Feb. 7 (Yonhap) -- Bong Joon-ho's sensational black comedy "Parasite," nominated in six categories, including best picture, at the upcoming Oscars, has been invited to 57 film festivals and award events across the world, and collected 55 trophies, its production company CJ ENM said Friday.

 

In May last year, the film about class division through two extreme families embraced the highest prize of Palme d'Or at the Cannes Film Festival, becoming a massive hit in 2019 and starting its awards-winning streak.

 

A month later, it won the top prize at the 2019 Sydney Film Festival, while actor Song Kang-ho, who played the father of a down-and-out family in the film, received the Excellence Award at this year's Locarno International Film Festival in Switzerland in August.

 

It also received awards at film festivals in North America, Europe, Asia and the Middle East, including the Calgary International Film Festival, Ulaanbaatar International Film Festival in Mongolia and the Slemani International Film Festival in Iraq.

 

Since it was released stateside in October, "Parasite" has received rave reviews and critical acclaim from film critics in the United States.

 

Entering the U.S. awards season in the runup to the Oscars, it nearly swept top prizes like best picture, best screenplay and foreign language film given by local critics associations, including those in Los Angeles, Chicago, Toronto and San Diego.

 

In 2020, "Parasite" continued its bullish rally. It took best foreign language film at the Golden Globes, marking the first South Korean film to win an award at the event arranged by the Hollywood Foreign Press Association.

 

Days later, it earned six nods at this year's Oscars in best picture, best director, best screenplay, best editing, best production design and best international feature film.

 

At the Screen Actors Guild Awards, the film became the first non-English language movie to win the top honor of outstanding performance by a cast in a motion picture, following two titles at the Critics Choice Awards.

 

Director Bong received the best original screenplay award at both the Writers Guild of America Awards and the British Academy of Film and Television Arts (BAFTA) Awards.

 

As "Parasite" has raked in a series of major titles in key awards considered strong indicators of the Academy Awards slated for Sunday, the best picture category is regarded as a battle between "Parasite" and "1917," the World War I movie by Sam Mendes.

 

CJ ENM said its U.S. campaign led by director Bong has successfully gone through the awards season and made a buzz since October.

 

The 92nd Academy Awards, given annually by the Academy of Motion Picture Arts and Sciences (AMPAS), will take place at the Dolby Theatre in Los Angeles on Sunday (U.S. time).

 

This photo, moved by the Associated Press, shows director Bong Joon-ho (3rd from L) and actors of "Parasite" posing after winning the award for outstanding performance by a cast in a motion picture at the Screen Actors Guild Awards held in Los Angeles on Jan. 19, 2020. (Yonhap)

brk@yna.co.kr

 

Source: Kishore @KishoreVDRowdy

 

[hyall]

This movie deserves every accolade it can get.

[sadiesmith]

Glad the whole cast is planning to attend the Academy Awards in LA. Good luck!

 

https://tv.naver.com/v/12243688?spi_ref=m_tvcast_twitter

https://www.soompi.com/article/1381220wpp/all-8-parasite-main-cast-members-will-be-attending-the-92nd-annual-academy-awards-in-los-angeles

 

 

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Clip: Parasite Gifs

 

February 7, 2020

 

[Video] Why does ‘Parasite’ mix pricey beef into instant noodles?

By Park Jun-hee The Korea Herald

The food featured in director Bong Joon-ho’s “Parasite” is not just nourishment for the characters but also serves up symbolism and social satire, hinting at social stratification in Korean society.

 

As the movie’s plot gains momentum, one of the foods in focus is jjapaguri -- translated as ram don in the English subtitles. The Korean name comes from its two main ingredients -- the instant noodle brands Jjapaghetti and Neoguri. Bong spices up this otherwise ordinary dish by adding chopped steak.

 

The unlikely mix comes from the desire of the wealthy mother in the film, who doesn’t want her son to eat a cheap meal. This is why hanwoo beef, which is expensive, is thrown into the instant noodle dish.

 

Bong appears to use the dish as a symbol of the rich-poor divide. In the movie, the Kim family go for the cheapest canned beer and packaged goods at the beginning of the movie, whereas the rich Park family have expensive wine and whiskey and high-quality food. The movie also takes a close look at the parallel lives of the rich and poor in Korea in terms of morals and behavior.

 

Much has been written about “Parasite,” generating diverse views from moviegoers and critics, but it has been a success worldwide, grabbing six nominations at the Oscars.

 

Check out the video if you have an appetite for exploring culinary delights in “Parasite.”

 

 

Video script and article by Park Jun-hee (junheeep97@heraldcorp.com)  
Video shot and edited by Park Subin (qlstnqkr1204@heraldcorp.com)

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Source: Parasite

 

Source: Pálás Cinema @PalasGalway

 

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Clip: BAFTA

 

February 8, 2020

 

A look at a big year for ‘Parasite’

 

Source: INSIDE Korea JoongAng Daily

 

 

Bong Joon-ho’s sensational comedy “Parasite,” nominated in six categories, including Best Picture, at the upcoming Oscars, has been invited to 57 film festivals and award events across the world and collected 55 trophies, production company CJ ENM said Friday.

 

In May last year, the film about class division through two extreme families took home the Palme d’Or prize at the Cannes Film Festival, becoming a massive hit in 2019 and starting its award-winning streak.

 

A month later, it won the top prize at the 2019 Sydney Film Festival, while actor Song Kang-ho, who played the father of a down-and-out family in the film, received the Excellence Award at this year’s Locarno International Film Festival in Switzerland in August.

 

It also received awards at film festivals in North America, Europe, Asia and the Middle East, including the Calgary International Film Festival in Canada, Ulaanbaatar International Film Festival in Mongolia and the Slemani International Film Festival in Iraq.

 

Since it was released stateside in October, “Parasite” has received rave reviews and critical acclaim from film critics in the United States.

 

Entering the U.S. awards season in the run-up to the Oscars, it nearly swept top prizes like best picture, best screenplay and best foreign language film given by local critics associations, including those in Los Angeles, Chicago, Toronto and San Diego.

 

In 2020, “Parasite” continued its bullish rally. It took Best Foreign Language Film at the Golden Globes, marking the first Korean film to win an award at the event arranged by the Hollywood Foreign Press Association.

 

Days later, it earned six nods at this year’s Oscars in Best Picture, Best Director, Best Screenplay, Best Editing, Best Production Design and Best International Feature Film.

 

At the Screen Actors Guild Awards, the film became the first non-English language movie to win the top honor of Outstanding Performance by a Cast in a Motion Picture, following two titles at the Critics’ Choice Awards.

 

Director Bong received the Best Original Screenplay award at both the Writers Guild of America Awards and the British Academy of Film and Television Arts Awards.

 

As “Parasite” has raked in a series of major titles in key awards considered strong indicators of the Academy Awards slated for Sunday, the best picture category is regarded as a battle between “Parasite” and “1917,” the World War I movie by Sam Mendes.

 

The 92nd Academy Awards, given annually by the Academy of Motion Picture Arts and Sciences, will take place at the Dolby Theatre in Los Angeles on Sunday (U.S. time).

 

After the ceremony, cable channel OCN will air a documentary titled “Bong Joon-ho, a genre unto himself” (translated) on Monday at 8 p.m. The program will discuss not only “Parasite” but other films by the director, such as “Memoirs of a Murder” (2003), “The Host” (2006) and “Snowpiercer” (2013).

 

By Lee Jae-lim, Yonhap

[rubie]

February 9, 2020

 

Will 'Parasite' end with stellar finale at Oscars?

By Kim Boram

 

SEOUL, Jan. 9 (Yonhap) -- When Bong Joon-ho's tragic comedy thriller "Parasite" debuted at Cannes and won the Palme d'Or in May last year, nobody anticipated that the South Korean film would contend for best picture and five other awards at the 92nd Academy Awards nine months later.

 

But the Korean auteur's seventh feature film about have-nots infiltrating a wealthy family has created strong buzz throughout the U.S. awards season and become a massive hit since its stateside release in October.

 

"Parasite" vs. "1917" by Yonhap News TV (PHOTO NOT FOR SALE) (Yonhap)

It is nominated in six categories at this year's Oscars: best picture, best director, best screenplay, best editing, best production design and best international feature film.

 

It will be a history-making event if "Parasite" wins an award at the Oscars on Sunday (local time) as no other South Korean film has even been nominated for an Oscar despite Seoul's booming movie industry and international successes.

 

Many news outlets in and outside the U.S. expect that "Parasite" will bring home at least one Oscar statuette -- that for best international feature film, previously known as best foreign-language film. It is the clear front-runner over "Corpus Christi" from Poland, "Honeyland" from North Macedonia, "Les Miserables" from France and "Pain and Glory" from Spain.

 

For best picture, "Parasite" is competing with eight other films including "1917" by Sam Mendes, "The Irishman" by Martin Scorsese, "Once Upon a Time in Hollywood" by Quentin Tarantino and "Joker" by Todd Phillips.

 

As the Oscar race reaches its final stage, the grand prize category has narrowed to a battle between "Parasite" and "1917," a World War I movie with 10 Oscar nods, after they shared major guild awards in January.

 

"Parasite" won at the Screen Actors Guild Awards, the Writers Guild Awards, the Eddie Awards of the American Cinema Editors and the Art Directors Guild Awards, while "1917" took home prizes from the Producers Guild Awards and the Directors Guild of America Awards.

 

Those guild awards are considered strong indicators of the Oscars as their members and the membership of the Academy of Motion Picture Arts and Sciences (AMPAS) largely overlap.

 

But winning the Oscar's renowned best picture award may be a long shot as a foreign-language film.

 

So far, only nine subtitled flicks have been nominated for the best picture section and for best foreign-language film at the same time, including Ang Lee's "Crouching Tiger, Hidden Dragon" (2000) and Alfonso Cuaron's "Roma" (2018), with none winning.

 

Last season, "Roma," the winner of best foreign-language film, seemed poised to win the best film award after earning 10 nominations, but "Green Book" took the honor.

 

The best director section is considered another "Parasite" vs. "1917" showdown between Bong Joon-ho and Sam Mendes.

 

Alfonso Cuaron of "Roma" was the only awardee to win the title with a non-English language film, while Taiwanese filmmaker Ang Lee, the sole Asian winner, was named best director two times -- for "Brokeback Mountain" (2006) and "Life of Pi" (2013).

 

"Parasite" is also expected to be named best screenplay on the back of its victories at the Writers Guild Awards and the British Academy Film Awards.

 

In addition, editor Yang Jin-mo and production designer Lee Ha-jun of "Parasite" are strong candidates for best editing and best production design as they won awards at the Eddies and Art Directors Guild last month.

 

South Korean experts hope "Parasite" will bring home at least two Oscar titles.

 

"On top of best international feature, I think 'Parasite' will be given either best picture or best director, and one other among best screenplay, best editing and best production design," said a film critic, asking not to be named.

 

brk@yna.co.kr

 

Winner of Best International Film "Parasite" Korean film director Bong Joon-ho poses in the press room during the 35th Film Independent Spirit Awards in Santa Monica, Calif., on Feb. 8, 2020. Reuters via The Korea Times

 

Source: Neon

 

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 C O N G R A T U L A T I O N S ! 

 February 10, 2020

 

Bong Joon-ho's 'Parasite' clinches best screenplay at Oscars

 

SEOUL, Feb. 10 (Yonhap) -- Bong Joon-ho's sensational family satire "Parasite" has won best original screenplay at this year's Oscars, becoming the first Korean-made film ever to clinch an Oscar.

 

At the 92nd Academy Awards held at the Dolby Theatre in Los Angeles on Sunday (U.S. local time), South Korea's "Parasite" co-written by Bong and Han Jin-won was named the best original screenplay award.

 

It outclassed "Knives Out" by Rian Johnson, "Marriage Story" by Noah Baumbach, "1917" by Sam Mendes and "Once Upon a Time in Hollywood" by Quentin Tarantino.

 

It is the first time that a Korean-made film has won a prize at the awards ceremony of the Academy of Motion Picture Arts and Sciences (AMPAS). Before "Parasite," no Korean film had earned an Oscar nomination.

 

Bong Joon-ho (L) and Han Jin-won accept the Best Original Screenplay award for "Parasite" during the 92nd Oscars at the Dolby Theatre in Los Angeles on Feb. 9 in this photo released by AFP. (Yonhap)

"Writing a script is such a lonely process, and we never write to represent our country. This is the very first Oscar to South Korea. Thank you," the auteur said through his interpreter in an acceptance speech. "I thank my wife for always giving inspiration to me, and I thank all the actors here with me today for bringing this film to live."

 

Co-writer Han said he wants to share this honor with his colleagues and with storytellers in South Korea.

 

Also, "Parasite" is the first non-English movie to win the best original screenplay award since the Spanish-language "Talk to Her," written by Pedro Almodovar, won the title in 2002. The duo are the first Asian writers to win Oscar best screenplay.

 

"Parasite" is also nominated in five other categories at the Oscars: best picture, best director, best screenplay, best editing and best production design.

 

The top prize winner of last year's Cannes Film Festival is a family satire that depicts the entrenched social class system through the lives of two families, one rich and one poor, with Bong's unique humor and suspense.

 

brk@yna.co.kr

 

[Helena]

Spoiler

 

 

 

 

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[Fabbo]

Wow gratulations.

 

And cool to finally see Cho Yeo‑jeong at one of the international awards after she was busy filming her drama. She only attends the big ones haha

[raziela]

Well done to everyone who worked on the drama. They must be so happy! And also well done to the interpreter (I think her name is Sharon Choi). She has done an incredible job during awards season and you could see how happy she was for their success too!

[Helena]

 

 

 

[dulceres]

Congratulations Parasite!!!!!!, well deserved win and accolades

[sadiesmith]

So glad to see the whole team get up on stage:

 

[jongski]

A big humongous fist tpump in the air and love to Parasite and the whole cast! totally totally tally deserve the recognition! 

Daebak!