A Flemish bourgeois family in 1920 is dominated by three wealthy aunts who constantly threaten to disinherit them. When their daughter Eggers falls in love with the gentleman farmer Flack, a bon vivant, the aunts want to quell this passion by any means necessary.
The accountant in question is Christian Wolff (Ben Affleck), who’s neurodivergent. We know this because at a dating event, he bores women with tax advice. He also places his breakfast foods in neat stacks and has no friends.
A deer caught in the headlights is the perfect metaphor for Animals.
Cassie, a musician, and Luke, a man serving in the Marines, form a false relationship and keep it a secret.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
A brief look at two Barry Jenkins films that have established him as one of the greatest filmmakers of our time.
