Parasite and Capitalism: What the Film Says About the Pursuit of Wealth
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.

Charlie, a forty-something looking for a job, meets two twenty-something girls, Ghislaine and Josiane, who are similarly unemployed. All three decide to take to the road selling oilcloth to pay their way. The harmony reigns within the group until the arrival of Tony, a seller of miniature cathedrals.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.
The film's Incluvie rating is off the charts. It features Black, Muslim, queer, trans humans whose moms hold them up, fight for them, and love them for who they are...making anything possible.
Facing the world with our fair share of uncertainties and/or apprehensions, many of which, sadly, may be well-founded, is nothing to sneeze at. Influenced and buffeted by the constant barrage of social media, fake news, and general upheaval present in our contemporary reality, what IS real and what's not becomes a blur.
You'd better buckle up, pack spare underwear, & maybe lay off the drinking for a night, for a gnarly ride in New York!
The Lighthouse is patient and hypnotic, pulling us in with its mysterious atmosphere and characters. The film’s slow pace proves to be monumentally effective, showcasing the tedious nature that comes with isolation and poor two-way communication.