Cannes 2019 Korean Movie

Pinterent    Juli 25, 2023    Comment   

Bong Joon-ho has become the first Korean ever to win the Cannes Film Festival’s Palme d’Or – the top film prize in the world – for his film

, the extravagantly wacky story of a poor family that infiltrates a rich household by taking all their service positions, an employment victory that has unexpectedly bloody results.

In fact, as jury chairman Alejandro Gonzalez Iniarritu made a point of telling the audience at the awards ceremony, the decision for director Bong was unanimous.

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Was a genre fable, but it was also a critique of current politics “and spoke in a funny way about something so relevant and urgent and global in such a local film with efficiency”.

Came away with a best actor gong for Antonio Banderas, playing a version of the director who is consumed by his memories along with the pain of his middle-aged elements.

This was noticeably the first year of the #MeToo era. Of the four films by women in the competition, three won prizes. Celine Sciamma won the prize for best screenplay for her austere period romance

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Austrian director Jessica Hausner ventured into sci-fi – without ever quite letting go of her customary formalism – to tell the story in

Of a mood-enhancing plant that turns out to be a kind of body-snatcher; Emily Beecham scooped the best actress prize for her performance as an enthusiastic geneticist. Finally, the Grand Prix went to Mati Diop, a French-Senegalese actress and director whose film

Put a magical poetic spin on a Senegalese women’s campaign for fair pay when their men mysteriously disappear. Once again, demonic forces are on the loose.

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More than anything, the 72nd Cannes Film Festival will be remembered as the year when genre filmmaking achieved peak respectability. Both the festival competition and the parallel Directors' Fortnight opened with gleefully trash-aware genre films: the main program with Jim Jarmusch’s zombie comedy

, which has Armie Hammer as an ineffectual slacker whose brain is infiltrated by evil thoughts via a stray mobile phone; and witchcraft summoning up the dead in young Brazilian director Alice Furtado’s

Furtado said in an interview that the horror genre is the vernacular for our times. “Maybe it has to do with our stage of society … and our stage of capitalism. There are a lot of conservative values on the rise and maybe the horror and nightmares and monsters are a way to try to understand this reality from a fantastic point of view.”

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, was about as different as it could be; the subject there was the skyrocketing price of houses in Sao Paolo) depicts an imaginary town in Brazil's impoverished north-east where rich Americans come to hunt the locals for sport, supervised by regular movie madman Udo Kier. It won one of two jury prizes; the other went to first-time French director Ladj Ly for his fast-moving story of a police shooting in a black district of Paris,

Outside the cinemas, however, Cannes has gone rather grey. The sun barely showed its face, which certainly lowers the mood, but there were seemingly fewer people – leaving some press screenings barely more than half-full, which never happens – and certainly less money. For the first time anyone can remember, the Carlton Hotel didn’t have the usual three-storey promotional display for some upcoming Hollywood blockbuster.

There were no crazy promotional stunts: what happened to the days when Jerry Seinfeld would be shot into the air by a giant cannon while dressed as a bee? And while there were parties, of course, none were in the Gatsby mode. Even the eccentrics who used to descend annually on the Croisette, like the Italian man with performing cats on his shoulders, have disappeared.

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. “Cannes has gotten more staid and a little less vulgar. I liked the vulgarity because I like contradiction. I remember in the `80s being in Cannes and you’d see some magnificent Romanian film or Chinese film – I didn’t know anything about them – and then go outside into the sun and there’s a naked girl in a parachute descending into a circle of paparazzi on the beach. And I thought that was kind of amazing, you know.”

There are still reasons to be amazed on the cinema screens in Cannes, of course. A last-minute addition in the form of

By Tunisian-French provocateur Abdellatif Kechiche, gave weary critics a talking point late in the festival. Was it the 16-minute scene of gynaecologically explicit oral sex in a dance club’s toilet that was truly shocking, or was it the effrontery of asking audiences to sit through 3½ hours of young women twerking to bad techno? At least Cannes can still reliably produce a scandal – the world’s greatest film festival isn’t over yet.Korean auteur Bong Joon-ho picked up a richly deserved Palme d’Or on Saturday for his “Parasite”, a brilliant family-based tragicomedy about the gap between rich and poor, wrapping up the most dazzling and political Cannes Film Festival in years.

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Eric Gaillard, Reuters | Korean auteur Bong Joon-ho claims the top prize at the closing ceremony of the 72nd Cannes Film Festival.

Cannes loves Asian cinema, and an Asian family drama all the more. Twelve months after Japan’s Hirokazu Kore-eda won a Palme d’Or for his “Shoplifters”, one of the world’s most prestigious film award has gone to another family-based critique of social inequality, this one by South Korean auteur Bong Joon-ho. And his “Parasite” is every bit as brilliant as last year’s prize-winner.

A Seoul-set satire, “Parasite” follows an impoverished family’s cunning scheme to con a wealthy household into giving them jobs. Bong, whose Netflix-produced “Okja” caused a row in Cannes two years ago, is known for blending genres and defying categorization, and his latest film is perhaps his most hybrid yet, mixing social-realism, comedy and thriller, with more than a splash of horror. The director had suggested it may be “too Korean” for international audiences, but I was on the edge of my seat throughout this absorbing drama, a beautifully-shot work as hilarious as it is harrowing.

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While “Parasite” was also a critics’ favourite, Cannes juries have a history of confounding predictions, and the nine-member panel headed by Mexico’s Alejandro Gonzalez Inarritu proved no different. Politically-charged works by newcomers were rewarded, with French directors Mati Diop (who also holds Senegalese nationality) and Ladj Ly picking up the runner-up Grand Prix and third-place Jury Prize respectively. Diop made history by becoming the first African woman to pick up a prize in Cannes’ main competition – and with her very first feature-length film too. Her bold and poetic “Atlantique” offered a fresh perspective on the refugee crisis as seen from African shores.

In “Les Misérables”, Ly delivered an angry flick on police brutality in France’s run-down suburbs, providing the social-realist shock the festival always wishes to include in its line-up. The Frenchman shared his third-place award with Brazilian duo Kleber Mendonca Filho and Juliano Dornelles, whose eerie sci-fi western “Bacurau” marked a brilliant foray into genre – and a scathing critique of Jair Bolsonaro’s Brazil.

France’s Céline Sciamma, another newcomer to the Cannes competition, won the Best Screenplay award for her “Portrait of a Lady on Fire”, an elegant and intriguing tale of love and art in 18th century costume, carried by an all-female cast. Adding to their impressive tally of awards, two-time Palme d’Or winners Jean-Pierre and Luc Dardenne took Best Director for “The Young Ahmed”, about a Belgian teenager lured into violence by radical Islamists.

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The hot favourite for Best Actor, Antonio Banderas was duly rewarded for his deeply moving turn as Pedro Almodovar’s persona in “Pain and Glory”. Banderas dedicated the award to the revered Spanish director, who was – yet again – snubbed for the Palme d’Or. There was surprise when Britain’s Emily Beecham claimed the female acting prize for her part in Jessica Hausner’s “Little Joe”, a dystopian tale of genetically-modified life, widely regarded as one of the festival’s main disappointments.

Overall, the 72nd Cannes Film Festival offered a fascinating competition, with an exciting and balanced roster of newcomers and veteran directors. It was timely and political, touching on an array of pressing contemporary issues including climate change, fundamentalism, emigration, and growing inequality. Many filmmakers veered deep into genre cinema, from fugitive thriller to sci-fi western and zombie fests. And there was Hollywood confectionery aplenty on the red carpet, more than making up for the dearth of star power witnessed last year.

Aside from Almodovar, whose “Pain and Glory” recaptured the emotional heft of his finest work, other filmmakers neglected by the jury included Quentin Tarantino, Ken Loach and China’s Diao Yinan. Tarantino gave us his best film in years – and a red carpet for the ages – with “Once Upon a Time in Hollywood”, starring Leonardo DiCaprio and Brad Pitt. Loach showed he is becoming sharper at each new film with “Sorry We Missed You”, his indictment of the zero-hours gig economy. And Yinan proved he is among the world’s most visually creative directors with his fugitive thriller “The Wild Goose Lake”, which shines a seedy neon light on provincial China’s criminal underworld.

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