BONG JOON-HO di Roberto Leoni [Eng sub]


The last Cannes Film Festival awarded a film called Parasite by Bong Joon-Ho and it happened to me to feel around me many people wondering who this director is with this strange name. Bong John-Ho is an interesting South Korean director that hasn’t made many films, but that has turned to international attention for the originality of his cinema. In fact, I personally prefer it too because he is one of the few authors of fantastic realism that is, it has the ability to combine fantasy and also the most surreal aspects of fantasy with a concrete realism, immediate, direct. His films, in fact, which take place for the most part in Seoul or in the South Korean province, are based on a tradition of oriental cinema therefore raw, careful, very precise in detail, descriptive, extremely neorealist, but suddenly they bloom with inventions with suggestions, with unexpected thrillers that reveal themselves full of mysteries and suggestions. Starting with his first film of 2003 Memories of Murder in which a provincial policeman struggles desperately to try to capture this serial killer and he does it through a series of events which testify as actually this cop is inadequate because he has theories and hypotheses of investigation that are completely wrong and then in a tingling country in southern Korea he tries to go on trying to unravel this mystery. Because this killer continues to hit every time it rains and there is a certain song on the radio. So he’s even almost predictable, but he’s elusive how evil is elusive and despite the arrival of a more experienced policeman coming from Seoul, from the capital and therefore he is quite capable to unravel some threads of this mystery, however practically the mystery remains unsolved. Because precisely, as I said, evil is hidden behind every anonymous face and there is a tragic ending and at the same time bitter in which just this impossibility to go further in the investigation to go beyond the possibility of understanding the human soul unfortunately makes our character fail. So the film is original precisely because of this concrete desperation, for this suggestion of being every time about to catch the killer and actually never succeed, precisely because it becomes like a parable of the impossibility of having justice in life. While instead the next film called The Host begins to have this very interesting aspect of fantastic realism in which the protagonist of this film in reality is a kind of monster, we can say almost like a forerunner of “The shape of water”, the film that later turned Del Toro because this film also takes place in Korea and it is along the river and is a wet film, really wet in every sense because the presence of water is constantly felt, the presence of the underground, the presence of evil which aligns again below the surface. This monster that kidnaps people in reality is precisely this obscure form of crime that is capable of making the greatest fuss and then disappearing. Again there is a figure we say so sci-fi and curious even in the next film that has an international cast and it is a post apocalyptic atomic film inspired by a French comic strip called Le Transperceneige The train through the snow that is actually called Snowpiercer as the snow puncher and it is this sci-fi train moved by an engine that is probably of perpetual motion perhaps atomic, something is not well explained, but of an energy that continues forever which runs continuously around the earth on elevated tracks carrying the remains of humanity that like every time are divided into classes and in the train it is really typical: first, second and third class. In the first class there are obviously the rich, the rulers those who enjoy this trip with all the comforts and in the last cars that are the third class, as happened in the ancient boats, there are actually the poor, the desperate, the rejected and as always happens, sooner or later the outcasts rebel and rebelling they try to get to the locomotive, they try to get to the head, to the control centre and there is this endless struggle between these characters desperately trying to overwhelm each other. Again it seems, in reality, the Republic of Plato where there was the revolt of the Helots, the desperates and that is what always happens: the slaves who revolt and try to gain power. Since the whole story is based on the fact that the world has remained contaminated by radioactivity and therefore it is covered by an immense blanket of snow because meteorology has been altered so you can’t live outside, in reality the film ends with a message of hope, because the few survived when they go out in the open, finally getting out of this nightmare of this train, they will see that life continues. So there is this message of hope as almost always at the end of every Bong Joon Ho movie. The nice thing is that it really comes at the end it really comes when you lose all hope you are almost desperate and destroyed and instead at this point there is a small signal that in Memory of Murder was a little girl’s smile in The Host they were the two little ones who manage to go outside and in Snowpiercer is a child again that survives and sees a trace of life which gives him hope that the world will be better. The next film is a very curious film again with this contamination of fantastic realism. This film called Okya was distributed by Netflix and therefore did not run on normal theatres. It is the story of a little girl and a super pig, but in reality it is something more: it is the story of the animalist struggle against violence, against slaughter, against cruelty to animals. It is a very curious film, very suggestive and very particular, that also participated in the Cannes festival precisely because of its originality and also for its message. There is again the evil that is the constant in Bong Joon-Ho’s films and this time this evil is against animals, turns against animals and again there is hope, there is a possibility because there is a puppy again at the end, like every time there is a child in previous films, here is a baby pig, the puppy of a super pig that manages to give us the idea and the possibility of a hope. Hope that I assume there will be also in this last film that won at Cannes and is called Parasite, even if the title leaves us in doubt However, I don’t know because I haven’t seen the film yet. Instead, I saw both “Dolor y Gloria” and “The Traitor” and if “Dolor y Gloria” deserved the prize for the interpretation of Banderas, certainly also “The Traitor” for the interpretation of Favino deserved at least one prize, also for the film in general. Unfortunately it didn’t go that way and won this Bong Joon-Ho movie. We hope to watch it and that there is always hope in the end because the world must never forget it. Thank you

5 Replies to “BONG JOON-HO di Roberto Leoni [Eng sub]”

  1. …quasi sempre alla fine dei film di Bong Joon Ho, proprio quando tu perdi veramente ogni speranza, invece c'è un piccolo segnale che in Memory of Murder era il sorriso di una bambina, in The Host due piccoli che riescono a uscire fuori, in Snowpiercer di nuovo un bambino che sopravvive e vede una traccia di vita, in Okya il cucciolo di un super maiale che riesce a darci la possibilità di una speranza che presumo ci sarà anche nel suo ultimo film Parasite…

  2. Il cinema coreano l'ho conosciuto giusto un anno fa (grazie soprattutto a Federico Frusciante), più o meno, dunque non ho ancora avuto il tempo di approfondirlo adeguatamente, ma mi ha già conquistato. Bong Joon-ho, insieme a Kim Ji-woon e Kim Ki-duk, è uno dei miei preferiti nonché uno dei migliori esponenti di un cinema che può vantare registi e attori in grado di dirigere e recitare con rara naturalezza, quasi da autodidatti. Penso che questa capacità sia un po' legata alla loro cultura, ricchissima e vastissima, al loro modo di essere e anche alla loro società, fatta di luci e ombre, che emergono quasi sempre nei film coreani, anche magari in quelli meno riusciti, e, nello specifico, nei lavori di Bong Joon-ho. Un autentico autore, che saprà regalarci altri splendidi capolavori. Inranto spero che Parasite faccia capolino anche nelle nostre sale: ne sono abbastanza fiducioso dopo questo importante successo (anche se si è più parlato della vittoria di Antonio Banderas…). Grazie a te, come sempre.

  3. Complimenti e grazie per questi video. Anche a me piace molto Bong Joon-ho e non so se lo hai visto, per la non citazione di esso in video, ma ti consiglio "Madre", il suo film successivo a "The Host", che per me è tra i suoi migliori, poetico e struggente.

  4. Credo che di film coreani ho visto solo castaway on the moon, sicuramente vedrò anche questo film.

  5. Snowpiercer film magnifico dal primo all’ultimo minuto, vedrò sicuramente anche questo. Il cinema sudcoreano è in crescita costante da anni e sta portando i suoi autori sempre più alla ribalta sia nei festival che al botteghino, c’è tanto da imparare da loro.
    p.s. consiglio la visione di The Wailing di un altro ottimo regista sudcoreano, Na Hong-jin

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