Rather than being the kind of grandiose epic you might expect to win an Oscar, “Parasite” is a nifty piece of pulp fiction
IT MAY HAVE taken 92 years, but on February 9th the Academy of Motion Picture Arts and Sciences finally gave its Best Picture award to a film which was not made in English. The recipient was “Parasite”, a South Korean production which also won Best Original Screenplay, Best International Feature Film , and Best Director, making it the evening’s undisputed big winner.
Perhaps. While this is undoubtedly a landmark year, so was 2017, when “Moonlight”, a low-budget drama with a black cast and a gay central character, won Best Picture. Many thought that would herald a new era for the Academy, too. Yet the latest round of Oscar nominations, with their exclusively male director line-up and their almost exclusively white acting line-ups , proved that Hollywood still had plenty of bias to deal with.
Rather than being the kind of grandiose epic you might expect to win an Oscar, then, “Parasite” is a nifty piece of pulp fiction with a class-war theme and a jaw-dropping revelation halfway through. Anyone in Hollywood could have made it—or something like it—but no one did. Rian Johnson’s “Knives Out” and Jordan Peele’s “Us” were the closest that the American film industry came to marrying unpretentious genre thrills with contemporary socio-political issues in the last year.
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