PARASITE & The 2020 Oscars: The Beginning Of A New Golden Age In Film?

2019 saw some amazing new work in the world of film. As the headlines scream our collective surprise at Bong Joon-Ho‘s brilliant and deserving Parasite taking home the top prize, one headline is conspicuously absent: the surprising originality of the rest of this year’s film offerings. We’ve been living in an age of reboots, remakes, sequels, and superheroes for the past two decades, but if 2019 offers any indication, we may be witnessing the trend finally swing back toward truly compelling artistic work in film, work worthy of the term cinema as argued by Martin Scorsese, who was given a standing ovation following a shout out from Bong Joon-Ho as he accepted his well-deserved Oscar for Best Picture.

It was a night of several firsts. Hildur Guðnadóttir became the first woman to win Original Score, for her hauntingly beautiful and perfect music accompanying Joker. Taika Waititi became the first indigenous person to win an Oscar; he did so for his hilarious and poignant work in adapting the script for Jojo Rabbit, a film he also directed, and in which he portrayed an imaginary form of Hitler. And of course, while a handful of directors from around the world have taken home the Best Director prize in years past, it was the first time in history that an international film took home Best Picture.

Brilliance In Film Is Not Exclusive To Hollywood

When his film won Best Foreign Language film at the Golden Globes earlier this year, Bong Joon-Ho said through his interpreter, fellow filmmaker Sharon Choi:

“Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.”

That line may yet prove to be prophetic, as American audiences are beginning to realize that brilliance in film is not exclusive to Hollywood. That realization just may be the beginning of a new golden age in cinema.

Think about it. This year, after years and years of mega-budget comic book films dominating the box office, we saw the humble, comparatively low-budget Joker become the most profitable comic book film of all time. We’ve now seen two years in a row wherein a foreign director took home the prize for Best Director for a foreign language film. And again, we saw a foreign film win Best Picture for the very first time. Clearly, the heretofore myopic view of American audiences toward film is finally beginning to improve.

The writing on the wall is clear: movie-going audiences are developing a taste for different types of cinema, films that challenge preconceived notions, including the notion that those 1-inch subtitles are a “barrier.” After decades and decades of brilliance in international cinema, with such incredible entries as Pan’s Labyrinth, Crouching Tiger, Hidden Dragon, Life is Beautiful, and now, Roma and Parasite, along with the collected works of such brilliant artists as Kurosawa, Bergman, Fellini, Denis, and so many more, the walls of Hollywood vs. International Film may finally be starting to crumble.

Imagine the new normal that may be in the works here: compelling and brilliant international films sharing multiplexes with the newest Avengers sequel nationwide; international filmmakers being celebrated, and their works being funded with a tenacity rivaling that of Hollywood; audiences being exposed to compelling and properly represented ideas from around the world, actively discouraging stereotypes and encouraging cross-cultural dialogue.

Challenging Hollywood Classism

Parasite‘s win also drives home a strongly deserved critique of Hollywood’s complicity in perpetuating regressive ideas. A film that, among many other things, holds a mirror to the problems of classism, won the award even as the richest man in the world, Jeff Bezos, sat in the audience. We would be remiss to forget, however, that hypocrisy is just as present among the Hollywood elite as it is among the rest of the one percent. Each nominee received “gift bags” worth $225,000, many use private jets, and the money spent on “dazzling” red-carpet-clothing alone seems as though it could easily solve the world’s hunger crisis.

While it’s true that film can be a powerful societal mirror that can help elicit change, the fact is, the Hollywood elite is every bit as complicit as Bezos himself. This is why we desperately need independent and foreign film to continue to grow, and continue to win these awards. That’s the main reason Parasite‘s win is so compelling, and so important: not only is it one of those desperately needed foreign films, but it also criticizes the very classism most of those sitting in that auditorium are known for.

Still, Parasite deserved its win not only because it so brilliantly and scathingly made that criticism, but also because it is simply one of the most brilliant films ever made. From the beginning, it’s clear that Parasite cannot be pigeon-holed into any single genre. The film is, quite literally, everything. It transcends traditional storytelling boundaries, somehow retaining a compelling, masterful story while bouncing across the multitudinous elements we’ve used to define filmmaking for decades. While other films make an impact by focusing on very few or even a single one of these elements, Parasite makes an impact by visiting all of them. And while we’re quick to point out that the film “criticizes classism,” even as I have done here, we must also be careful to remember that Bong Joon-Ho‘s masterwork is far too incredible to be taped over any single political situation or argument (despite being a deeply political movie). As a work of art, Parasite cannot and should not be limited to any single interpretation.

Parasite: A Triumph of Film History

That being said, this film will change your life, no matter what your interpretation may be. The raw power of its message, as well as the delicate narrative nuances through which it is delivered, will burrow its way into even the slightest opening in a viewer’s heart and mind. The film’s societal critique is as sharp and aptly applied as those of Wilde or even Shakespeare. Yes, I know it’s against the unwritten rules of criticism to ever mention the Bard’s name as part of a comparison, but my doing so will hopefully provide context for why I insist that you see it, and support it.

With Parasite, Bong Joon-Ho offers an experience easily on par with the greatest offerings of his inspiration, Alfred Hitchc*ck, from Psycho to Vertigo. I do not think I’m in danger of overstatement when I say, emphatically, that it is among the greatest triumphs in film history. In the same vein, this year of incredible filmmaking has the potential to be the beginning of an era future generations may regard as one of the greatest in film history. If you haven’t seen Parasite yet, be part of film history and do so. Then make sure everyone you know sees it as well.

Then, be an active participant in this newest golden age of filmmaking: promote and support international and independent film. Join the forces pushing against the walls encircling and protecting Hollywood isolation. Now, more than ever, we need to come together.

Do you think we’re witnessing the beginning of a new push for international film? Do you think it will lead to greater representation? Tell us what you think in the comments below!