But foreign films don’t have to be frustrating or dull. Since awards season is in full swing, I thought I’d try something special for this week’s column. I’m writing about two vastly different, but equally compelling films – the first from South Korea and the second from Spain – that are currently playing in limited release and generating massive Oscar buzz. For viewers interested in broadening their horizons, here are some fantastic steps to begin that journey.
Parasite
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| Courtesy of NEON |
(Rated R for language, some violence and sexual content. Now playing in 10 Atlanta-area theaters.)
I’m almost hesitant to write anything about the latest from director Bong Joon-Ho (who also directed Snowpiercer and Okja, which is currently streaming on Netflix), since most of the film’s power stems from watching the story unfold with no preconceived notions or too much knowledge of the plot. There are no jaw-dropping plot twists a la The Sixth Sense (although there are some fun, nasty developments), but going in cold makes the experience far richer.
Still, a bit of context is probably necessary for those who haven’t heard anything about this contender for Best Picture and Best Director, so I’ll be vague. Parasite centers on the Kims, a poor, yet street-smart family. When college-aged son Ki-woo (Choi Wook Shik) stumbles into a cushy job as an English tutor for the wealthy Park family’s daughter (Jung Ziso), he takes advantage of the opportunity to find jobs for his sister (Park So Dam), his father (Song Kang Ho) and his mother (Hyae Jin Chang).
The Park parents (Lee Sun Kyun and Cho Yeo Jeong) are seemingly agreeable, but oblivious to how their new employees are taking advantage of their trusting nature. That’s why the Kims lash out when an outsider figures out their scheme and jeopardizes their newfound financial stability, which threatens to destroy the fragile ecosystem that has been established between the Kims and the Parks.
Parasite juggles a wide range of tones, beginning as a dark comedy and transforming into a tense thriller. Although Joon-Ho isn’t exactly a subtle filmmaker, his latest is a far more understated project than the ones he’s best known for in the U.S. The writer-director (who shares a screenplay credit with Han Jin Won) has crafted a searing commentary on class warfare that has no danger of getting lost in translation. In fact, it might be the most widely accessible film he’s ever made.
When a movie delves into controversial issues, there’s always a danger of coming across as preachy. Thanks to Joon-Ho’s wicked sense of humor and his knack for pathos, that’s not an issue here. He’s aided by a phenomenal cast, Hong Gyeong-Pyo’s gorgeous cinematography and a haunting score by Jaeil Jung. Thanks to their combined efforts, this film is one of the sharpest, most intelligent satires I’ve seen in a long time.
The word masterpiece gets overused, but I have no problem employing it to describe Parasite. From a narrative perspective, it’s essentially a perfect movie. There are still two months left in 2019, but it’s almost guaranteed to appear toward the top of my 10 Best List in December. In fact, although I need to see how it holds up over time, it might end up being one of the best of the decade.
Grade: A+
Pain and Glory
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| Courtesy of Sony Pictures Classics |
Writer-director Pedro Almodóvar has collaborated with actor Antonio Banderas for nearly four decades, but their eighth film together proves the partnership remains incredibly powerful. Pain and Glory is an emotionally devastating blend of autobiography and fiction that speaks to the power of both memory and movies, and how they often form a symbiotic relationship.
Banderas plays Salvador Mallo, a director who hasn’t worked in years due to declining heath. Because of severe pain and choking spells, he experiments with a range of medications – some approved by doctors, some acquired through illicit means. He occasionally writes as a form of therapy, so the spark of creativity is still there, but he’s frozen with fear of the unknown and recent heartbreaks.
Throughout Mallo’s illness, Almodóvar’s story drifts from the present to the past: from the character’s impoverished childhood in the 1960s, to his first pangs of desire, to his first adult love in 1980s Madrid, to the pain of that breakup and how it continues to impact his modern life.
Pain and Glory is a beautiful film, especially for people who love film as an art form. That might sound pretentious, but it makes perfect sense when you see how Banderas’ character filters everything he experiences in life through his talent for writing and directing. It’s a powerful concept, one that comes full circle in the film’s final scene with a narrative choice so inspired that it actually made me gasp.
Banderas has always been a compelling actor, but he delivers some of the best work of his career as Mallo. In the United States, he’s primarily known as a heartthrob, which has caused some movie fans to underestimate his talent as a performer. No one will make that mistake after watching Pain and Glory.
True, Banderas has aged incredibly well (if you thought he was handsome before, wait until you see the distinguished salt-and-pepper look he’s rocking here), but he doesn’t lean on his looks. They come into play a bit, but they only accentuate his emotionally complex performance. Another actor might have gone the melodramatic route, but Banderas underplays almost everything to great effect. He is absolutely deserving of a Best Actor nomination and I’d argue he’s got a decent shot of nabbing one of the five slots.
While the film is essentially a one-man show for large stretches, Banderas is buttressed by phenomenal supporting performances. Asier Etxeandia (as an actor who recently reconciled with Mallo after decades of estrangement); Leonardo Sbaraglia (as a former flame); Asier Flores (as the childhood version of Mallo); Penelope Cruz and Julieta Serrano (who both play Mallo’s mother at various points in his life) all make memorable impressions despite limited screen time.
While Pain and Glory is certainly not for all tastes, those who appreciate intimate stories with small-yet-critical stakes will find plenty to love here. It’s also a welcome reminder of Banderas’ talent, which proves he deserves a career renaissance.
Grade: A-
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