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.

Pak Zubir takes care of his grandson, Aiman, who becomes an orphan when both his parents die in an accident. Aiman's father is a successful businessman and has bequeathed a large fortune to Aiman. Pak Ngah and Mak Ngah have evil intentions to steal the wealth. Their intentions are driven when Juwita borrows money from a loan shark and fails to repay the loan. Aiman is forcibly taken from the village to Zaim and Juwita's house in the city. There Aiman is treated harshly, not sent to school, but instead made to do household chores. It gets worse when Aiman is frequently beaten by Juwita.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
It took writers D.B Weiss and David Benioff two years to give us a promising final season. Two. Years. It was just going to be six episodes, which was short considering that all the other seasons — except season 7 — were 10 episodes. 10. 6 wasn’t enough, and even HBO wanted to give the writers more episodes. More seasons, even. However, the writers wanted to get out of the show as quickly as possible to work on other projects. This abruptness is clearly shown in this season.
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.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.