At RogerEbert.com, Roxanne Hadadi writes on the films of Jeremy Saulnier. “[W]hat Saulnier has built into his Blue Ruin, Green Room, and Hold the Dark trilogy is not only a flair for the gory and grisly, but a consistent acknowledgment of the role this country’s regimented class system […]
“Parasite, the first foreign language film to win the Academy Award for best picture, and the first to be condemned in public by a U.S. president, is a story of poverty and inequality. The movie, which is also the first Korean movie to win an Oscar, is centered […]
In normal times, I’d be writing about ten comics I read that I liked this year and haven’t written about yet. But it is, as is so often said, not normal times and I am not entirely sure what the new normal will be both here at the […]
At Horror Home Room, Alishya Almeida writes about class, horror and “the abject” in Bong Joon-ho’s Parasite (2019). “In a cosmos ruled by capitalism, the ways in which wealth and labor interact become a matter of haunting. Bong’s path of storytelling highlights the unequal and unjust experiences that […]
At the Irish Times, Derek Flynn considers genre fiction, particularly crime fiction, and working class experience. “And when I say that the voices of the working class can be heard in genre fiction, I’m not just talking about crime or thriller novels. Take, for example, the much-maligned genre […]
The Guardian talks to director Bong Joon-ho. “Bong is as fascinated and baffled as anyone by how Parasite has taken off. ‘A lot of people say it’s a universal story because it’s about the gap between rich and poor, but I don’t think that’s all the answer,’ he […]
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The Cultural Gutter 