Below, some thoughts on four that I’ve caught thus far at NYFF, which runs Friday to October 13.
The unanimous winner of this year’s Palme d’Or at the Cannes Film Festival and the toast of practically every film geek with a working internet connection,marks Bong Joon-ho’s return to his native tongue after making the predominantly English language. Inflated festival hype is a real thing that owes undoubtedly to a number of factors . I know this, yet I remain susceptible to it, and sodidn’t quite live up to my expectations, even though I should know better than now to have such high hopes.
The movie is as clever as its characters, but it made me feel like I was being conned myself. Nonetheless, it works as a broad satire, a near fantasyland of class struggle whose intricacies keep layering , but that makes its final sentimental resting place feel like unearned territory. Bong frequently favors multivalence as an aesthetic, butwas too on the nose too often for me to give it my full heart.
And so they do, for a little over two hours of screen time. There’s very little plot here, just a series of encounters, most of them awkward and unenthusiastic, many of them featuring shriveled soft penises. A woman strung to a tree gasps in pleasure as a bucket of milk is poured over her, a whipped man tops from the bottom, pleading through his cries of pain, “Don’t be more ridiculous than me. Give it to me.
The notion of colonization in its many forms hovers here like that skyscraper. Ada, though, who’s pressured into marrying a man she doesn’t love while mourning the loss of the one she does, remains uninhabited as she holds onto her resolve in an environment that exists to deny her . Sane wears the pressure of Ada’s struggle with oppression like a costume.
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