The Bong Jun-Ho revolutionary film Parasite (2019) The The best film of the 21st century Of The New York Timesaffirming his status as a film masterpiece with a lasting global impact.
Released on June 27 (local time)The well -kept list of the Times of the “100 best films of the 21st century” placed Parasite above, praising it like “A compelling reproach of neoliberalism” that merges Large comedy with sharp social satire. The review detects the unforgettable story of the kind that bends “It offers both an exciting satisfaction and deeply uncomfortable shock.”
The article praised the film evolution of Bong, highlighting how Parasite He transformed him from a favorite for Arthouse to a global cinematographic icon. “When Parasite concluded his theatrical race of the United States, Bong had gone from being a famous name among Arthouse fans to keep Oscar trophies more – and the world had gained a new Superstar”, he said.
Furthermore ParasiteBong 2003 thriller Memories of murder also made the list, ensuring the 99th place. Times called him to “Procedural of the Korean police who break the Hollywood conventions”, applauding its balance between dark absurdity and tragic intuition.
Corean Fellow Auteur Park Chan-Wook he was also recognized, with his worship classic Oldboy (2003) classified a N. 43. The publication praised its intense violence and iconic combat scenes, calling it “A hammer blow of a movie” with an ending “They stay a long time after the rolling of the credits.”
To complete the first five films were:
- 2nd: Mulholland Drive (David Lynch, 2001)
- 3rd: there will be blood (Paul Thomas Anderson, 2007)
- 4th: In the mood for love (Wong Kar-Wai, 2001)
- 5th: Moonlight (Barry Jenkins, 2016)
The New York Times completed the list by examining 500 filmmakers, actors and professionals in the sectorincluding directors Pedro Almodóvar, Sofia Coppola, Barry JenkinsAND Guillermo del Toroas well as the actors Julianne Moore, Chiwetel EjioForAND John Turturro.
With Parasite Driving the package, Korean cinema continues to leave an indelible mark on the global scene, showing that the narrative knows no boundaries, especially if told through the lens of a visionary like Bong Joon-Ho.
