We used to watch the latest releases of Oscar-winning hopefuls in the coziness of reclining chairs of AMC Theaters or on long haul flights.
This season with global lockdown it was just a popcorn and coke solitude “matinée”.
The movie was “The Parasite “since we were interested to find out why this Far East production deserved six Oscar for best picture, directing, original screenplay, foreign film, production design, and editing.
The movie deals with the divergent lives of the poor and rich families and how shrewd are the impoverished and how naïve are the affluent people.
The central theme of the movie, the deceitfulness of a family that wants to beat poverty, has been dealt in a thousand times in the annals of cinema.
The “Parasite” puts together a “plastic lego” of bits and pieces of a thesis seen in countless films, borrowing ideas and old jokes typical of teenage farce movies.
The members of the Academy of Motion Picture Arts and Sciences seem to lack a background erudition of Italian 60s neorealism films, dealing with this exhausting subject, like Luchino Visconti’s “ Rocco and his Brothers” or Vittorio De Sica’s “Bicycle Thieves“.
Some “Parasite” plot situations are absurd and outright silly, like the scene of the rich family returning from camping, while the scavengers try to clean up the evidence of a repast orgy.
The ending sequences of a ridiculous horror show, mocking Tarantino’s graphic style violence, are below-average take of Bruce Lee’s Hong Kong kick-ass flicks.
In a such a good vintage year of Oscar candidates, like Sam Mendes “1917”, Tarantino’s “Hollywood”, Scorsese’s” Irishman” or even “Marriage story” or “The Joker”, it is intriguing how ” Parasite” could be such groundbreaking cinematic experience worth of so many awards.
The main reason for this Oscar euphoria may be that, like cell phones, cameras, fridges, and washing machines, it is another South Korean production winning market share from American products.