When asked by Vulture why he thought no Korean film had ever been nominated for an Academy Award, director Bong Joon-ho replied, “It’s a little strange, but it’s not a big deal. The Oscars are not an international film festival. They’re very local.” On February 9, Bong Joon-ho became a local historical legend with his film “Parasite,” the first foreign-language film to win Best Picture and the first Korean film to ever land a nomination. In spite of all signs pointing to Sam Mendes’ “1917” snagging the award, Joon-ho’s film won not only the night’s top prize, but also Best International Feature, Best Director, and Best Original Screenplay, making Joon-ho the second person in history to personally win four Oscars on the same night.
He’s kind of a big deal.
““Parasite” has dealt a much-needed slap to the American film industry’s narcissism, its long-standing love affair with itself, its own product and its own image,” wrote Justin Lang of the LA Times. “It has startled the Academy into recognizing that no country’s cinema has a monopoly on greatness…And in a year of unwelcome resurgence for #OscarsSoWhite, especially in the acting categories, the sight of actors Song Sang Ho, Park So Dam, Choi Woo Shik, Lee Jong Eun and other members of the “Parasite” cast and crew taking the stage was nothing less than a balm— and a sign, perhaps, that the Academy’s efforts to diversify its ranks and become a truly global institution are having an imperfect but measurable effect.”
I don’t think I’m out of line when I say this year’s Oscars may very well be the most important ceremony since the 1st Academy Awards in 1929. For too long has the Academy and Hollywood at large ignored the artistic contributions of international artists. While women and people of color have long struggled to receive the recognition they deserve, international writers, directors, and actors have struggled more. Hollywood loves nothing more than to congratulate itself, so handing out the night’s biggest award to an outsider, especially one that required a translator to deliver his acceptance speeches, is nothing short of groundbreaking. Even Alfonso Cuarón’s 2018 film “Roma,” which received 10 nominations at last year’s ceremony (the most of the night alongside “The Favourite”), was unable to claim the top prize, settling for the first foreign Best Director win.
“If the Academy allows, I’d like to get a Texas chainsaw, split the Oscar trophy and share it with all of you” Joon-ho told his fellow nominees, adding, “Thank you, I am ready to drink tonight. I will drink until next morning.” While it’s unclear if the director actually managed to drink for ten hours straight, what is clear is that the Oscar is deservedly his and his alone, and the fact that he cited both Quentin Tarantino and Martin Scorsese as influences to his work proves how global the film business has truly become. Finally, we are beginning to see the old guard surrender to the new, and Joon-ho has ridden that wave all the way to Oscar glory.
And it’s not just in America that Joon-ho has found acceptance. In addition to winning the top prize at Cannes, he has also been lauded not only by the South Korean filmmaking community, but politicians as well. Upon “Parasite’s” release, Joon-ho’s longstanding feud with conservative politicians resurfaced. Some slammed it as a “‘commie’ flick not worth watching,” in line with the director’s previous efforts which were “anti-American,” spread “left-wing messages,” and worst of all depicted “government incompetence.” Now, these same politicians have proposed that a Bong Joon-ho museum and statue be erected in his home city of Daegu, which may rename the streets in the filmmaker’s honor. When asked to give a statement on the matter, a spokesperson for the far-right Liberty Korea party commented, ““Parasite” has written new history. This is a monumental achievement that spread the power of South Korean movies and culture to the world.”
America has been behind the curve in terms of honoring international talent. France, Germany, and Italy (with the Cannes, Berlin, and Venice film festivals) have long managed to honor “foreign” talent, including oft-overlooked Asian talent. Finally, the Academy is starting to understand that, as Joon-ho says, “Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” American audiences, perhaps more resistant to subtitles than any other country, are beginning to recognize this as well.
As of February 19, “Parasite” has grossed over $45 million at the box office, making it the fourth-highest grossing foreign language film of all time. It had a steep road to get there. For comparison, “Sonic the Hedgehog” opened on Valentine’s day in 4,167 theaters. “Parasite” opened in just three, and only expanded to its current number of 2,000 after sweeping the Oscars. To put this achievement into perspective, the last international film to make it into 2000 theaters was “Kung Fu Hustle” in 2005. All this to say, Bong Joon-ho might be the most important filmmaker on the planet right now. Not only has he managed to break down barriers by sweeping awards ceremonies across the globe, he has now won Hollywood’s famously-insular top prize. Cultural moments like this don’t come very often. Don’t miss out on the Bong hit: Go see “Parasite.”