Parasite

recisely a decade after his last film shot and produced in South Korea, Bong Joon Ho returns to a place that feels both familiar and unfamiliar with his Palme d’Or-crowned . Moving beyond the ambitious, overly conceptual, and uneven international co-productions and , feels like a movie that only could have been made after such an awkward foray into globalized filmmaking. Slipping comfortably back into his domain with effortless mastery and a palpable sense of urgency that makes for less of a homecoming than a home-reckoning, Bong builds on his thematic obsessions of class division, societal dysfunction, and the family unit, yet does so in a perpetual state of surprise.’s very make-up: the formal strategies, tonal malleability, and sheer density of the film’s intricate construction. Needless to say, is the most deserving Palme winner in quite a while, and its arrival at this year’s edition was explosive, leaving nearly everything else in its dust.