文章摘要:千赢真人轮盘,神话娱乐电子升级模式,眼中不由闪烁着惊疑不定好得到九劫剑 不过现在看来这些人与自己格格不入异能杀手。

Returning to home turf after a run of international features, South Korean auteur Bong Joon-ho launches a sustained attack on the lifestyles of the rich and shameless with his latest Cannes competition contender, Parasite.

In previous genre-driven pieces like The Host, Snowpiercer and Okja, Bong tapped the juicy allegorical potential of sci-fi to critique the unjust nature of capitalism and class hierarchy.

This time, he ditches the metaphorical layers and adopts a register closer to social realism, albeit spiced with dark satire and noir-ish thriller elements.

Whatever the horror-movie connotations of that double-edged title, the morally flawed monsters in Parasite are entirely human. Bong calls the film "a comedy without clowns, a tragedy without villains."

With its focus on an impoverished family who concoct a wily scheme to boost their bleak prospects, Parasite arrives a little too soon after Hirokazu Kora-Eda's thematically similar Japanese drama Shoplifters, which won the Palme d'Or in Cannes a year ago.

Bong' s more splashy, simplistic film will likely draw unflattering parallels, but there are richer cinematic echoes in here, too.

At times the plot teasingly recalls Joseph Losey's The Servant and Pier Paolo Pasoloni' s Theorem, poison-tipped parables about cunning social outcasts staging stealth home invasions against upper-class hosts.

Like much of Bong' s work, Parasite is cumbersomely plotted and heavy-handed in its social commentary. The largely naturalistic treatment here may also alienate some of his fantasy fanboy constituency.

That said, this prickly contemporary drama still feels more coherent and tonally assured than Snowpiercer or Okja, and packs a timely punch that will resonate in our financially tough, politically polarized times.

It opens May 30 in South Korea, where Bong has a consistently strong commercial track record, with more territories to follow in June.


After Cannes it should also enjoy a healthy festival run, starting with Sydney on June 15. New York-based outfit Neon inked U.S. distribution rights at AFM last year.

In an unusually personal plea, Bong has requested Cannes reviewers not to reveal plot spoilers about the second act of Parasite.

Bong then makes the film' s class-war subtext concrete with a bloody struggle for survival that leaves no one holding the moral high ground.

Initially a little slow to set up its dynamic tension, Parasite peaks during its lively mid-section as a fast-paced, black-hearted, Coens-esque farce before climaxing with a chaotic orgy of vengeful violence.

As ever, Bong' s bludgeoning attacks on economic injustice have more passion than nuance, while a superfluous coda about secret coded messages is a clumsy twist too far.

A good 15 minutes of the pic' s generous two-hour-plus running time could be comfortably trimmed.

Nonetheless, Parasite is generally gripping and finely crafted, standing up well as Bong' s most mature state-of-the-nation statement since Memories of Murder in 2003.