Four Foreign Films to Watch after 'Parasite'
South Korean director Bong Joon Ho made history at the 92nd Academy Awards when his Critically acclaimed thriller Parasite became the first foreign film not in English to win the best picture. Bong also won the best director and best screenplay awards, beating established cinema legends such as Quentin Tarantino and Martin Scorsese. The seventh feature from Bong was not only met with a warm reception from international critics but American audiences as well. Parasite generated a commendable $35 million dollars at the domestic box office. The commercial success in the US, paired with the numerous wins over typical Hollywood features, demonstrates that International films may finally become mainstream and that the general moviegoer is open to watching movies that aren’t in English. Here are four film recommendations fans of Parasite should watch as an introduction to international cinema.
Oldboy (South Korea)
Bong Joon Ho is just one of many talented South Korean filmmakers. Another notable film auteur from the country is Park Chan Wook, who directed and co-wrote the neo-noir cult classic Oldboy. The film is about Oh Dae-su, a man who is kidnapped and imprisoned from the outside world without any knowledge of why. 15 years later, he is released and embarks on a vengeance fueled rampage to find the identity of his captors. This film is prominently seen as an example of “extreme” cinema that became popular in Asian countries during the 90s and 2000s. The subgenre is known for the excessive use of sex and violence in order to illustrate its underlying themes and message. In Oldboy’s case, the usage is to comment on the repercussions and consequences of revenge and rage. The film may be difficult to watch for the faint of heart, however, the possible feelings of discomfort and disgust are ultimately worth it. Choi Min-sik gives a career-defining performance as Oh Dae-su, reaching levels of intensity that other actors can only aspire to. His emotional and mental breakdown from his imprisonment, followed by his enraged yet calculated demeanor is mesmerizing. Park Chan Wook directs the film in a meticulous yet bold fashion. Each camera movement is calculated and precise but maintains a fierce energy to match the scene. A famous example is the corridor scene: An incredible fight scene featuring a multitude of extras performing intricate choreography in a claustrophobic hallway all in one continuous shot. This type of scene is nearly herculean to pull off correctly and Park does it flawlessly.
Recommended for fans of Tarantino, pulpy/gritty action, and martial art films.
La Haine (France)
With only his sophomore film, Mathieu Kassovitz managed to create his magnum opus. Taking place over the course of 24 hours, La Haine follows three teenagers, Vinz, Hubert, and Said, as they aimlessly drift from place to place during the Paris riots of the 1990s. The majority of Americans are unaware of the political unrest that occurred between the poor youth and the police. Kassovitz managed to craft a film that was not only an informative glimpse into France’s struggle but also embodies the grander ideas of class, oppression, and nationality. The film was produced on a shoestring budget, but uses various creative techniques to pull of mind bending camera work and visual effects. Many of the techniques are conducted in a near guerilla-style, resemblant of the aesthetic and attitude of the story. Scenes take place in train cars and apartments with real people rather than extras, expensive cameras are strapped to cars and hung off of helicopters, and an actor has a body double that mimics his movements in order to look like a mirror and not get the camera in the reflection. These tactics may sound cheap but are pulled off impeccably and are nearly impossible to notice. The film is shot in glorious black and white, making both the slums and skyscrapers of Paris appear as an ethereal dreamscape, a contradiction to the grounded conflicts rooted in the reality that the characters have to deal with. Despite being released 25 years ago, La Haine remains just as poignant and riveting as when it was released.
Recommended for fans of Spike Lee, Day in the Life stories, and political dramas.
Run Lola Run (Germany)
Tom Tykwer’s cult classic is only a mere 81 minutes long but is packed to the brim with experimental and inventive ways to present its narrative. Run Lola Run follows the titular Lola and her seemingly futile quest to sprint to her boyfriend Manni and stop him from robbing a grocery in order to pay off a crime lord. Tykwer manipulates the space and time of the film as it were wet clay. Rather than abiding by a straightforward linear structure, he uses everything from flashbacks to cartoons to even the literal resetting of the plot itself. The ticking clock element of the story makes every character on edge, causing them to act brash, brutish, and self-preserving. In turn, this behavior affects their environment and the bystanders around them, who are also wonderfully fleshed out with their own personal struggles. The results of the interactions seem initially inconsequential, but turn out to have a ripple effect that gradually influences the entire plot, resulting in an intensified crescendo. While the film is aggressively dated, the late 90s aesthetic only enhances its already distinct personality. The pumping techno house music along with the bold fashion choices of the time fits with its chaotic energy.
Recommend for fans of Edgar Wright, intense thrillers, and stylized 90s films.
Pan’s Labyrinth (Mexico)
Like Parasite, Pan’s Labyrinth garnered a significant amount of success from American audiences. The film made an admirable $37 Million during its theatrical run in the United States and was nominated for three academy awards. Written and Directed by Guillermo Del Toro, the dark fairy tale tells the tale of Ofelia, a little girl growing up in the countryside of Spain after the events of the Spanish civil war. As a way to avoid her cruel military stepfather, the young girl adventures into an ancient maze where she meets The Faun, a mythical creature who assigns three tasks that will reveal her royal ancestry. Del Toro is known for his weaving of fantasy and historical political elements into a cohesive and elegant product and this film is no exception. The narrative of Pan’s Labyrinth is divided between the fantastical perspective of Ofelia and the harsh setting of fascist controlled Spain. Moments of cruelty, sadness, and tragedy brought on by the oppressive government are then juxtaposed with magical moments of childlike wonder. The audience is able to escape from the brutal totalitarian reality to the wondrous fable just as Ofelia does. The practical visual effects are astounding. Many of the creatures in the film are completely practical and accomplished without any CGI. Two significant characters, being the Faun as well as the horrifying Pale Man, are played by famed “creature actor” Doug Jones, known for his tall stature and contortionist abilities. Jones accomplishes these unnatural and inhuman movements that are characteristic of the monsters he plays, all the while wearing intricate costumes and makeup that require power stamina to control effectively. His performance is responsible for the infamy of the Pale Man, who many have deemed as one of the scariest villains of all time.
Recommended for fans of Tim Burton, adult fantasy and fairytale, and horror films.