Film review: Parasite (2019) by Bong Joon-ho

Judging by the taste of A-list film festivals juries, Asian cinema is taking the lead on the world scale. Last year at Cannes, two of the most lauded films were Palme d’Or winner “Shoplifters” by Hirokazu Koreeda and “Burning” by Lee Chang-dong. Interestingly, both were examining class conflict in a divided society with deep rifts between the haves and have-nots. There are obvious parallels to be drawn between this year’s Palme laureate, Bong Joon-ho’s “Parasite” and both of the aforementioned films so we could debate on a trend of sorts, where the approach of art-house drama or more genre-oriented is just a matter of taste. We were lucky enough to finally catch the “Parasite” at Sarajevo’s impressive and impressively full open-air stage.

Like in “Shoplifters,” here we also have a family (only this time biological) of four living on the fringes of society in a basement
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