aka the purest scene in Star Wars
don’t forget:
#the true hero of the saga (via cacchieressa)

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@sixdegreesofstarwars
aka the purest scene in Star Wars
don’t forget:
#the true hero of the saga (via cacchieressa)
The anxieties of proximity explored in Parasite are rooted in South Korea’s past. The first half of the 20th century in the country was marked by brutal Japanese occupation and the devastation of the Korean War. But since the 1960s, the gross national income per capita in South Korea has risen from $120 to $30,600. This rapid economic growth, which was driven by a handful of family-owned companies known as chaebol, relied on extensive government support for enterprises deemed most likely to succeed. The development strategy of rewarding the moneymakers has neither the scholarly propriety of supposed meritocracies based on exams nor the implied inescapability of heredity and, after nearly 60 years, this approach remains embedded in the country’s economic policy.
The antipathy between rich and poor that lies at the core of Parasite, then, is rooted less in the difference between the two families than in their similarities. The Kims and the Parks bear two of the three most common last names in South Korea and, like 96 percent of the population, they share the same ethnicity and language. Each household’s wealth was likely made within a single generation.
- Bo Seo, “Parasite and the Curse of Closeness,” The Atlantic
this may seem obvious but in the closing sequence of parasite, when kim ki-woo tells his plan and we see him and the family in the house and then cut to the semi-basement, I thought - oh. of course. the semi-basement is still there. even if the kim family becomes rich and can escape it, as long as there are semi-basements, there will always be families living in it. And the movie we saw is probably just one cycle in a never ending spiral.
“Death and perversion are the two great equalizers.” ―Greer of Kinross, Reign.
[Caption: gifs from various recent films. -Hustlers: Ramona, angry and tired, tells a nervous Destiny that “The game is rigged. And it doesn’t reward the people who play by the rules. You can either stand in the corner or get in the ring.” -Knives Out: Marta drinking from the “MY HOUSE, MY RULES, MY COFFE!!” mug, looking down from the balcony to Harlan’s family. -Ready or Not: a first responder (concerned, off-screen) asks Grace, who’s covered in blood and guts, what happened to her. She (deadpan, smoking) answers with “In-laws.” -Parasite: Chung-sook, derisive, says that “[Our boss is] nice because she’s rich. Hell, if I had all this money, I’d be nice too. Even nicer!”.]
PARASITE (2019)
Dir. Bong Joon-ho
#i think about this moment a lot #and how accurate it is #to how rich and poor #talk about hardship #something like a flood #or a global pandemic #doesn’t affect people the same #to lots of rich people #it will be a funny anecdote #how 2020 was weird #to others it was devastating #entire families gone (via jetgirl78)
Congratulations to Parasite on winning 4 Academy Awards including Best Picture!
I need to talk about the way sexuality is used as a means for humanization in both the Shape of Water and Parasite, but in heavily different ways.
The portrayal of Elisa masturbating in the first few minutes of the Shape of Water is important, it’s informative of not reducing her identity and existence to being a disabled woman. She’s a human being, and that scene hit me really hard because we’re expected to see her as a trope and not a three-dimensional person, and it introduces us to the fact that despite her inherent outsider-ness, she feels libido and desire like everyone else. Sexuality humanizes Strickland too, in that his sex scenes with his wife juxtapose the cruelty that someone otherwise capable of intense domesticity is. It also serves to humanize the Amphibian Man.
In Parasite, sexuality gets a largely secondary role on the life of the Kim family, if any at all. Ki-taek and his wife only show love and affection and sensual jest when in the Park household under false pretenses, never when inhabiting their own lives; the sensual bond between Ki-Woo and Da-Hye is portrayed as somewhat foolish, joking, ridiculous on both parts. It makes both members seem human in negative ways, in that it shows how those bonds technically transcend class but are available as primary concerns only to one. Yeon-gyo and Dong-ik using sexuality to demean the previous driver but then debasing themselves by engaging in lascivious lazy sexual behavior right in front of the Kims while they have much more pressing concerns is humanizing too, in that they can afford to be human, to engage in what is meant to be universal.
The idea of sexuality as inclusive vs. sexuality as exclusionary is a very interesting contrast in very different movies with very similar themes.
If you make a plan, life never works out that way.
PARASITE (2019) dir. Bong Joon-ho
GET TO KNOW ME ♡ [5/8] films ☆ parasite (2019) → So we’re all gathered here today to celebrate the reconnection of our phones, and this bounteous Wi-Fi!
Bong Joon Ho on winning for Best Original Screenplay at the Oscars 2020 (1/4 Oscar winning speeches)
I’m so sick of apples. I want peaches.
Academy Award for Best Picture:
You know what kind of plan never fails? No plan. No plan at all. You know why? Because life cannot be planned. Look around you. Did you think these people made a plan to sleep in the sports hall with you? But here we are now, sleeping together on the floor. So, there's no need for a plan. You can't go wrong with no plans. We don't need to make a plan for anything. It doesn't matter what will happen next. Even if the country gets destroyed or sold out, nobody cares. Got it?
Parasite (2019, dir. Bong Joon-ho)
#AtoZOneWordFilm Challenge:
PARASITE (2019) Director: Bong Joon-ho
FILMS WATCHED IN 2024 Parasite | 기생충 (2019) dir. Bong Joon-ho
The cast of “Parasite” receives a standing ovation during the 26th Annual Screen Actors Guild Awards | January 19, 2020
They are nice because they are rich.
Parasite (2019) dir. Bong Joon-ho
Rich people are naive. No resentments. No creases on them.
Parasite | 기생충 (2019) dir. Bong Joon-ho