It is worth pointing out that an audience watching a film in their native language, made by people of the same culture in the same time period can still lead to different interpretations so adding the complexity of another language only makes it more complicated.

In terms of distributing films for audiences that do not speak the language the film is made in, there have been two options – dubbing or subtitles. Dubbing is the process of having actors who do speak the language of the audience redo the dialogue, for a long time dubbing was a source of much derision due to the unnatural feeling it gave movies and poor acting but in recent years it has become far more accomplished. Subtitling was long seen as the more authentic experience but still had its limitations. Any film, whether it be Citizen Kane or The Fast & The Furious, has a complexity to language that can be lost when translated. Even just thinking about some of the pithy one-liners from films – Dr. Strangelove – “Gentlemen, you can’t fight in here, this is the war room!” Silence of the Lambs – “I’m having an old friend for dinner” or even “You’ve got to ask yourself one question: ‘Do I feel lucky?’ Well, do ya punk?” from Dirty Harry. How easily the meaning could be lost if any of these were translated into Mandarin or Portuguese or Arabic? Translating is not just about specific words, there is meaning in context.

Then there are the problems of expressions and turns of phrase, for example, by the skin of one’s teeth, is not an expression that makes any sense when taken to another culture. The Chinese expression “Draw snake, add feet” meaning to overdo something does not make any sense. You could probably find examples of other expressions that would work in other languages, or just have the subtitles not use the expression and just say it…but then is something being lost?

It is well known that comedy doesn’t travel well, with it often not working when it leaves the place it was created. Often stereotypes about countries not having a sense of humour are that they simply have a different sense of humour. If we look at one of the great comedies of all time, Shaun of the Dead, and even just focus on the scene of throwing records at zombies. There are a number of different jokes going on – the silliness of fighting zombies with records, Shaun’s preciousness of his collection even in a life and death situation, the various jokes about different albums – such as Shaun insisting he likes The Stone Roses’ album Second Coming. How would this be translated for other audiences?

Famously when German television asked to broadcast Monty Python’s Flying Circus in Germany the Pythons decided instead of letting them dub it or subtitle it they would make specials in German, feeling that would convey the humour more. Admittedly, none of the Pythons spoke German so they learned it phonetically. But even if they didn’t learn the language they did make changes for the culture, settings change, clothes are different, it is trying to connect with the German audience.

Looking at some of the most successful non-English language films in the UK and America we have films like Parasite, Amelie, Pan’s Labrinyth. The first of those is a complex story of class and cultural tensions in South Korea, the second a film saturated in French cinematic style and taste, and the final a fantasy coming-of-age story amidst the aftermath of a fascist victory in the Spanish Civil War. There is a lot of room for misunderstanding and keeping the meaning and style of the original is an art form in itself.

Also Read: Parasite and Foreign Language Films in the UK

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So rather than looking at the potential winners or nominees, which this year includes everything from The Green Knight to Spider-Man, instead we’re looking at previous winners and seeing where the Best Picture winners of the last 10 years rank against each other based on their IMDb and Metacritic ratings

10. The Shape of Water (2017)

Guillermo Del Toro’s homage to Creature From The Black Lagoon is a love story between the creature (Doug Jones) and Elisa (Sally Hawkins), a mute cleaning lady. One of the stranger films to have won, critics seemed to love it more than audiences, as it sits at a 7.3 on IMDb, but has 87 on Metacritic. The film was also nominated in several other categories for a total of thirteen nominations, winning four, including Best Picture, Best Director for Del Toro, Best Production Design and Best Orginal Score.

9. Moonlight (2016)

Widely considered one of the more progressive choices to win Best Picture. Based on an unpublished semi-autobiographical play, it shows the life of Chiron, at three separate stages of his life. Beginning as a child, through into adolescence and ending in early adulthood. While it may not have made a huge impression on audiences, judging by its 7.4 on IMDb, critics loved it, as it sits at a 99 on Metacritic. It was the first LGBTQ film to win Best Picture, as well as first to win featuring an all-black cast.

8. Nomadland (2020)

Another historic win at the Oscars. Based on a non-fiction book about the rise of older people living nomadic lifestyles in the US. The film follows Fern (Frances McDormand) as she loses both her job and her house after the death of her husband, and her life on the road living in a van and travelling the country. Most of the cast is made up of real-life nomads, who play themselves. While it only has a 7.4 from audiences on IMDb, it was the third highest-rated film of 2020 on Metacritic. Director Chloe Zhao became the second woman and first woman of colour to win Best Director.

07. Argo (2012)

Based on true events, although sometimes criticised for its historical accuracy. This dramatisation of the “Canadian Caper” was written by Chris Terrio, who also wrote the screenplays for Batman V Superman: Dawn of Justice and Star Wars: The Rise Of Skywalker. Terrio won the Best Adapted Screenplay, while Ben Affleck won Best Director, as well as starring. Critics loved Argo more than audiences, with a 7.7 on IMDb compared to a 86 on Metacritic.

06. Birdman or (The Unexpected Virtue Of Ignorance) (2014)

The Oscars love a film with a huge technical challenge and a film about the arts. Birdman has both. Micheal Keaton lampshades his own career as an actor famous for playing a superhero tries to be taken seriously. Set in and around a theatre, the film is shot so that (with one exception) it appears to be done in one take. Interestingly this fared about as well as Argo with audiences and critics, also having a 7.7 rating and 87 respectively. As well as Oscars for Directing, Orginal Screenplay and Cinematography, director Alejandro González Iñárritu’s next film The Revenant finally won Leonardo DiCaprio his Oscar.

05. The Artist (2011)

Despite being released in 2011, The Artist invokes the silent film era of the 1920s. Shot in 4:3, black and white, as well as being mainly silent, it was certainly the most unique amongst the nominees of its year. Nominated for 10 Academy Awards it won five, including Best Director and Best Actor. It was the first mostly silent winner since the first-ever Academy Awards, back in 1929. Loved by both audiences and critics, with a 7.9 on IMDb and 89 on Metacritic.

04. Spotlight (2015)

Another film based on true events, this time focused on the power and importance of journalism. The script was based on various accounts and articles from the Spotlight team. The Boston Globe published several news pieces that revealed the widespread child sex abuse in the Catholic church in the Boston area in 2003. Praised for its screenplay and performances as well as its historical accuracy, it has an impressive 93 on Metacritic, as well as an 8.1 from audiences.

03. 12 Years A Slave (2013)

Based on the memoir of Solomon Northup, a free black man who was kidnapped and sold into slavery. The book details his experiences at market, cotton and sugar farming, as well as the life and experiences of being a slave. He was eventually freed, after getting information from friends and family. Widely praised by critics and audiences, it also won for its screenplay and a supporting actress win for Lupita Nyong’o. It also sits at 8.1 on IMDb, while it has a 96 on Metacritic.

02. Green Book (2018)

Another film about race relations in the US, and also based on a true story. The eponymous “Green Book” was a guide written for African-Americans and other non-whites, to help aid safe travel. Focusing on the friendship between pianist Don Shirley and his chauffuer/bodyguard Frank Vallelonga. Although there was some controversy, it was very positively received with an 8.2 from audiences. Interestingly most critics were not as impressed, with it only scoring a 69 on Metacritic.

01. Parasite (2019)

Sitting at number 31 on IMDb’s top 250 Movies of all time, Korean director Bong Joon-ho made history by directing the first non-English language film to win Best Picture. Telling the story of a poor family who slowly infiltrate a wealthy one, the film was universally acclaimed. Focusing on class relations and the wealth gap in Korea, it struck a chord with audiences and critics around the world, with a 8.6 and 96 respectively.

Also Read: Parasite Director Bong Joon-Ho Once Described The Oscars As “Very Local” Does He Have A Point?

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Spoiler Warning – massive spoilers ahead for The Addams Family and Addams Family Values, Parasite, all of Star Wars & Home Alone.

Comedy – The Addams Family – The Addams Family

The Addams Family was originally a comic and then a TV show but I’m focusing on the two films made in the 90s. This is a family that loves each other. As opposed to many portrayals of married couples Gomez and Morticia are madly in love, endlessly romantic, and very public in their feelings. Their children are incredibly important to them – in Addams Family Values they send their children to a bright, cheery summer camp despite their hatred of such a place as they think the children want to go. Gomez’s relationship with his brother Fester is of huge significance; their falling out a constant wound and their reconciliation wonderful. Grandmama lives in the family home, the hirsute Cousin It is in regular attendance and their butler Lurch is seen as family, as is Thing, whose relationship I’ve never understood.

Drama – The Kim Family – Parasite

The Kim family are struggling to make ends meet in South Korea, each family member has various marketable skills but seemingly demand for jobs is overwhelming. The son, Ki-Woo gets a job as a tutor for the rich Park family under false pretences and then slowly brings in each of his family members to various jobs in the household. The family goes so far as to plot against existing employees to get them fired – making it seem the housekeeper has an infectious disease for example. Neither family come off terribly well – the Park family are entitled and patronising, the Kims have lied their way into someone’s house and had other people fired, the story is told from the point of view of the Kims so we have more sympathy for them but told from the Park perspective they would be monsters.

Sci-Fi – The Skywalkers – Star Wars Saga

The Skywalkers are a family of drama like no other. A quick rundown of their various tragedies

• Schmi Skywalker – a slave on Tatooine who has a quasi-mystical pregnancy leading to the birth of Anakin Skywalker. Schmi is later captured and killed by Tusken Raiders.
• Anakin Skywalker – Born a slave and leaves Tatooine to become a Jedi. Becomes involved in the Clone Wars eventually destroying the Republic and killing many, many Jedi (even the younglings). After spectacularly losing a duel with his former best-friend he becomes Darth Vader. Anakin’s lover Padme dies in childbirth although this is put down to a broken heart because of Anakin but the twins – Luke and Leia – survive. Darth Vader spends a lot of time trying to kill or kidnap his son Luke, only to die after getting in a duel with Luke.
• Luke Skywalker – raised on Tatooine by relatives until they are brutally murdered by the Empire. Luke trains to be a Jedi eventually confronting Darth Vader only to lose his hand and find out Vader is his father. Their second confrontation leads to Vader’s death, though not at Luke’s hand.
• Leia Organa – raised on Alderaan by Bail Organa Leia is unaware of her Skywalker heritage until Luke tells her, realising not only her biological father destroyed her planet and tortured her, she had kissed her brother. Leia marries Han Solo and has a son Ben…and neither of those relationships go very smoothly. Leia dies in a successful attempt to influence her son in turning away from evil.
• Ben Solo – trained to be a Jedi by his uncle Luke until that uncle contemplated killing Ben because of the darkness he sensed in his nephew. Ben escapes and not surprisingly goes full evil, becoming Kylo Ren, following in his grandfather’s footsteps. Ren kills his father, tries to kill his mother, and also tries to kill his uncle. After some measure of redemption he dies.
• Luke Skywalker continued – after going into self-imposed exile for years Luke agrees to train Rey to be a Jedi but Rey leaves before completing her training. Later as Kylo Ren is about to destroy the Resistance Luke sacrifices himself to slow Ren down.
• Rey Skywalker – with all of the Skywalkers dead, Rey, student of both Luke and Leia Skywalker takes up the Skywalker name.

So four generations of the Skywalkers full of familicide, galaxy-wide political turmoil and occasionally blowing up planets. That is a lot of tragedy and in my opinion, Hamlet doesn’t even come close.

Horror – The McCallisters – Home Alone

I was looking for a horror film with an interesting family when it occurred to me that with only the slightest change in tone Home Alone is a horror film. The McCallisters are an exceptionally affluent family and have gathered to go on holiday to Paris. And apparently, accidentally go on holiday leaving young Kevin at home. They are a family of sociopaths, bullies and dangerously indifferent caregivers. Kevin is tormented by older siblings, his feelings ignored by cruel parents, and treated with outright hostility by extended family members. As for Kevin…he may have issues. First, he seems to think he made his family magically disappear and he is happy about this. Then when confronted with burglars he seems to relish the opportunity to torture them – bear in mind, he sets one of them on fire. Perhaps most galling of all, the McCallister children spend their time telling spooky stories about an elderly neighbour who they have the audacity to judge.

Also Read: Film Franchise Graveyard: Movies That Killed Off Their Own Franchise

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5. The King’s Speech (8.0)

The winner of the 2011 Best Picture award concerns Britain’s King George VI (Colin Firth) working with speech therapist Lionel Logue (Geoffrey Rush) to overcome his stammer and allow him to deliver his messages to the people of the UK and those in high positions with his own voice.

Despite some critics calling it Oscar bait, The King’s Speech charmed audiences. Not only scoring an 8 on IMDb but also becoming the highest-grossing British independent film of 2011. Initially, it was also involved in controversy because the BBFC gave the film a 15 certificate due to strong language. Despite the swearing serving the point of helping King George through his stammer. Ultimately thanks to the distributor’s appeal, the BBFC re-rated the film as a 12a. It also won Best Director for Tom Hooper, Best Actor for Colin Firth, and Best Original Screenplay for David Seidler.

4. Spotlight (8.1)

2016’s best picture recipient deals with another story based on true events. This time looking at several reporters working for the Boston Globe. Who uncover a series of child abuse crimes within the catholic church.

Spotlight was the first Best Picture winner since The Greatest Show on Earth to only win one other award at the ceremony. The other being Best Original Screenplay for Josh Singer and Tom McCarthy. It also was viewed as a surprise win, with many believing The Revenant would take the award home. Spotlight may have been a surprise winner but its high audience rating and great reviews from many critics show that it’s still something special.

3. 12 Years a Slave (8.1)

Steve McQueen’s dark drama is about the horrors experienced and witnessed by Solomon Northup (Chiwetel Ejiofor), a free man of colour living in New York who is captured, sold into slavery and must spend 12 years trying to survive.

12 Years a Slave was not only well-received by critics and general audiences but it also marked the first time that a film made by a black director won Best Picture. And it also earned statues for John Ridley’s screenplay and Lupita Nyong’o’s supporting performance. Showing that while 12 Years a Slave was a hard watch, it was also impactful and important.

2. Green Book (8.2)

Undoubtedly the most controversial Best Picture winner of the past decade. The story follows Tony Lip (Viggo Mortensen) who makes friends with Dr. Donald Shirley (Mahershala Ali) as he ferries him around the southern United States in the 1960s, ensuring he is safely able to play music at venues.

Green Book received several negative responses upon its release for its dated use of the white saviour narrative to tell the story of African American persecution. But it became even more controversial when it won the Best Picture Oscar, even though films from prominent black filmmakers like Spike Lee (BlacKkKlansman) and Ryan Coogler (Black Panther) were also nominated. Although Green Book clearly won over many, as evidenced by its award wins (also winning Best Original Screenplay for Nick Vallelonga, Brian Hayes Currie, and Peter Farrelly and Best Supporting Performance for Mahershala Ali), and IMDb rating, its win remains an embarrassing moment for the modern film industry.

1. Parasite (8.6)

This South Korean masterpiece focuses on the relationship between two families, the rich Parks, and the poor Kims. Asking many pointed questions about class and inequality in an odd, funny, dark, and enthralling way.

Parasite, the highest-rated Best Picture winner of the decade is also one of the highest-rated Best Picture Winners of all time on IMDb and was a trailblazer in so many ways. It was the first foreign-language film to win Best Picture, on top of winning Best International Film, Best Original Screenplay for Bong Joon-ho and co-writer Han Jin-won and Best Director for Bong Joon-ho. Along with this, it became the highest-grossing foreign-language film of all time in the UK. And despite the many controversies with the Academy Awards these past 10 years, seemingly all agree that Parasite deserved to win.

This ends our brief look back at the highest-rated Best Picture winners of the past 10 years. What is your favourite Best Picture winner from the past decade? Let’s hope that the next 10 years bring more Best Picture winners that audiences will love.

Also Read: Parasite Director Bong Joon-Ho Once Described The Oscars As Very Local

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Today we are going to look over Netflix’s commitment in more detail. As well as what this could mean for Netflix and the media produced in South Korea. But first, we are going to look at what led to this decision.

South Korea’s International Stardom

South Korea has been producing critically well-regarded media for years. Movies like Oldboy, The Host, Train to Busan and Burning (among others) found critical acclaim across the world. Some films also performed moderately well at the international box office. The Handmaiden was one of the highest-grossing foreign-language films in the UK in 2017. Burn the Stage: The Movie also had moderate success in the UK in 2018. K-dramas also rose in appeal over the years. With Winter Sonata, My Love from the Star (Both listed in the book 1001 TV shows to watch before you die) and more gaining international cult followings. However, the successes of Korean media still seemed relatively small in western territories such as the UK and USA. Until 2020.

Parasite had a large impact on how western cinemagoers perceived South Korean cinema. It won the 2020 Best Picture Oscar and became the highest-grossing Korean Language film in the USA and the highest-grossing foreign-language film of all time in the UK. Subsequent streaming hits, including the zombie film #Alive, which was US Netflix’s 4th most popular foreign-language film in 2020, and the TV show Sweet Home, which acquired 22 million viewers worldwide, appearing on the Netflix Top 10 in the UK and USA, showed definitively that western audiences were ready to devour South Korean entertainment.

Netflix’s Investment

With successes both nationally and internationally, particularly on Netflix (Netflix recorded 3.8 million paid memberships in South Korea by the end of 2020, largely fuelled by the Netflix content produced in Korea. Its K-drama viewing figures also rose by 100% over the last year in the US), proving that there is a growing appetite for more of what Korea has to offer, it is only natural that Netflix would want to capitalise on this opportunity and do what it can to keep subscribers happy and increasing.

Recently Netflix’s VP of Content for South Korea, Minyoung Kim, announced the company would be investing almost $500 million into Korean content. It will be working with both established creators and emerging talents to, “add more variety and diversity to our growing slate”.

A Recipe For Success

This investment is fantastic news for both fans of South Korean entertainment and the content makers themselves.

From the fan’s perspective, it means that more projects will be made available. Which will include Netflix financed original productions. Movie projects such as Carter and Moral Sense, dramas like The Silent Sea, the documentary My Love, and Netflix’s first K-sitcom So Not Worth It are already planned. And also thanks to partnerships with major South Korean companies other programs may have the chance to have wider distribution. With well-received shows like My Love from the Star and The Good Detective already being made available through their platform.

And for the makers, it is an exciting opportunity. It will allow older creative talents to make projects they’ve always wanted to make. Thanks to Netflix’s ethic of creative freedom. Newer creators will have the opportunity to showcase their talents on a well-regarded platform. And it means both will be able to have a large worldwide audience.

Conclusion

After years of acclaimed and moderately successful South Korean products being exported internationally, Parasite showed how successful South Korean media can be in western territories. And with the growing number of South Korean Netflix subscribers and an international audience hungry for more of the country’s movies and TV shows, Netflix’s investment into production and distribution, as well as its pledge to work with creators both new and old on a variety of projects, is not only a smart move for Netflix but an exciting one for Korean creators and K-fans.

Also Read: #Alive (Review)

Read More: Parasite Director Bong Joon-Ho Once Described The Oscars As Very Local

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10. Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (£9,400,000)

Cathy Yan’s DC Universe offering sees Harley Quinn teaming up with a group of female heroines to fight against the evil Black Mask.

Audience Thoughts: 78% – Rotten Tomatoes / 6.2 – IMDb

Critics Thoughts: “While watching Birds of Prey, it becomes clear that comic book movies are still going to dominate the box office for many years to come. If any of those could be as much fun…then we would be over the moon.“

9. Parasite (£12,000,000)

Bong Joon Ho’s Best Picture winner sees the poor Kim family scam their way into working for the rich Park family. But do the Kim’s deserve our sympathy and what secrets are the Park’s hiding?

Audience Thoughts: 90% – Rotten Tomatoes / 8.6 – IMDb

Critics Thoughts: “It’s dark, funny, clever, surprising, and I’m sure I could use almost every adjective in my lexicon.“

8. The Gentlemen (£12,300,000)

Guy Ritchie’s latest gangster films focused on an American marijuana emperor trying to leave the business. But various factions conspire to extort him for all he’s worth.

Audience Thoughts: 84% – Rotten Tomatoes / 7.9 – IMDb

Critics Thoughts: “It is a coarse, convoluted, comical caper that exults in the joys of genre.”

7. Jumanji: The Next Level (£16,100,000)

The gang from Jumanji: Welcome to the Jungle, along with new additions Danny Glover and Danny DeVito, return to Jumanji to face new challenges. 

Audience Thoughts: 87% – Rotten Tomatoes / 6.7 – IMDb

Critics Thoughts: “Jumanji’s next level is rather satisfying.“

6. Dolittle (£16,700,000)

Robert Downey Jr. leads an all-star cast as the famous doctor who can talk to animals sets out to find a cure for an ailing young Queen Victoria.

Audience Thoughts: 76% – Rotten Tomatoes / 5.6 – IMDb

Critics Thoughts: “It really is horribly inert, and every time Downey opens his mouth to say something unintelligible, the film dies a bit more.“

5. Bad Boys for Life (£17,000,000)

Mike Lowrey and Marcus Burnett must team up with a team of younger cops to take down the leaders of a violent drug cartel.

Audience Thoughts: 96% – Rotten Tomatoes / 6.7 – IMDb

Critics Thoughts: “Bad Boys for Life is … pure enjoyment and entertainment.“

4. Sonic the Hedgehog (£19,100,000)

Sonic and his friend Tom race to San Francisco to find the rings to transport Sonic off-world before Dr. Robotnik catches them.

Audience Thoughts: 93% – Rotten Tomatoes / 6.6 – IMDb

Critics Thoughts: “The world contains many terrible video game movies. This isn’t one of them.”

3. Little Women (£19,400,000)

Greta Gerwig’s remake of the literary classic follows the March sisters as they experience career hardships, romance, tragedy, and triumph during and after the American Civil War.

Audience Thoughts: 92% – Rotten Tomatoes / 7.9 – IMDb

Critics Thoughts: “Though we can’t foretell whether time will be cruel or kind to Gerwig’s “Little Women,” it may just be the best film yet made by an American woman.”

2. Star Wars: Episode IX – The Rise of Skywalker (£20,100,000)

The Skywalker Saga concludes. Emperor Palpatine returns to threaten the galaxy. Rey and the remnants of the resistance must find a way to stop him. While contending with the rage of Kylo Ren.

Audience Thoughts: 86% – Rotten Tomatoes / 6.7 – IMDb

Critics Thoughts: “It doesn’t do anything new or even terribly distinctive, but maybe it didn’t have to. It just had to be good enough to stick the landing, and it does that.“

1. 1917 (£46,600,000)

Presented in a pseudo-continuous shot 1917 follows two soldiers tasked with physically delivering orders for a battalion to stand down before German forces kill them all.

Audience Thoughts: 88% – Rotten Tomatoes / 8.3 – IMDb

Critics Thoughts: “1917 will have you on the edge of your seat from the very first moment and will leave you breathless.“

This year’s top 10 collective taking may be comparatively low (over £188 million) but with a relatively diverse group of creative teams (including 2 solo female directors and a foreign-language film) and an interesting mix of tales (including three original properties not based on pre-existing work or part of larger franchises), 2020 is more interesting than 2019. Which was dominated by comic book adaptations, remakes, and sequels to popular franchises (mostly from Disney and their subsidiaries). Hopefully, the upcoming months will bare good tidings for UK cinemas.

Also Read: What Happens To Your Brain When Watching A Horror Film

The post Top 10 Films at the UK Box Office in 2020 (So Far) appeared first on Big Picture Film Club.

Since Parasite became the first foreign-language film to win Best Picture (at the Oscars), many have asked if this marks the beginning of more prominence for international films in English-speaking territories?

Well, today we’re going to look at the performance of international films in the UK. Looking at the number of non-English language films that get released in the UK, their box office takings, the factors that affect this and how Parasite’s recent triumph could impact the industry in the future.

2018 Foreign Language Release Numbers

Recent BFI statistics show that 331 films released in 2018 were entirely in a foreign language. This marked a decrease from the 349 entirely foreign language releases in 2017. But international releases still accounted for 43% of UK releases overall. And the number of different languages represented in UK cinemas increased. From 38 languages other than English in 2017 to 44 in 2018.

The Box Office Numbers

Foreign-language releases in 2018 made £30 million at the box office. The joint highest taking (2016 taking the same amount) since 2010.

Many high grossing international films have a dedicated audience in the UK. E.g. The UK has a big Bollywood audience with the highest-grossing foreign-language film of 2018 was Padmaava. A Hindi film which, according to the BFI, grossed £2.2 million (across 137 cinemas). The UK also has a big Polish community (it is the most common non-native language in England and Wales). So films like Clergy made £1.3 million (shown at 237 cinemas), and Cold War made £1.1 million (shown in 79 cinemas).

However, many of the other best-performing films had a great amount of exposure from film festivals and awards ceremonies. Which helped gain more interest from broader English speaking audiences. For example, Shoplifters won the Palme d’Or and earned £0.7 million across 43 cinemas. Making it the second-highest-grossing foreign-language film not in Polish or Hindi. And A Fantastic Woman won Best Foreign-Language Film at the 2018 Oscars helping it to earn £0.4 million across 38 cinemas.

The Success of Parasite

Parasite received several accolades prior to its UK release. These included the Palme d’Or, the BAFTA for best screenplay and best foreign-language film and many more. But since its Oscar win Parasite has become the third highest-grossing non-English language film at the UK box office. Earning a total of £5.1 million. Only beaten out by Crouching Tiger, Hidden Dragon (£9.4 million) and Passion of the Christ (£11.1 million). And it increased its cinema presence, from 137 screens to 428. Showing that the prestige of the award helped to further advertise the film to English speaking audiences. And convinced more theatres to show it.

This historic victory also coincides with a recent growing demand for international content. According to Curzon CEO Philip Knatchbull, the rise of non-English content on TV and streaming services like Netflix has helped to change attitudes towards foreign language products. Showing that there are audiences craving foreign language content and that there is a possibility for a new generation of English speakers to emerge who become accustomed to and more appreciative of world cinema.

What does this mean?

Parasite has proven that something has changed in the zeitgeist. Foreign language films usually struggle at the UK box office. Largely due to a perceived lack of interest from larger audiences. However, Parasite‘s Oscar win proves that foreign-language films are more accessible than ever. And are capable of captivating and performing well with English speaking cinema audiences when given the chance and the marketing.

Hopefully, Parasite‘s success coupled with the emergence of modern audiences more appreciative of foreign content, and the big awards ceremonies providing publicity for non-English language films means that bigger British audiences will soon be watching the wide variety of international films available at the cinema. And that more marketing; showcasing opportunities will be available for these films to reach larger audiences. Which is important.

More box office earnings mean more languages and cultures will be represented at the cinema. And exposure to foreign cinema helps us to discover great stories, new methods of storytelling and it allows us to learn more about and empathize with other cultures, traditions and ways of life. And that’s always a good thing.

Also Read: Parasite Director Once Described The Oscars As “Very Local” – Does He Have a Point?

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The Undisputed Champion of Film Awards

I think most people in America and the UK see the Oscars as the film awards. Winning Best Picture at the Oscars is probably the closest we have to declaring what was the best film of that year. After all, there are many film awards that are specific to the host country; indeed, in South Korea, they have the Blue Dragon and Grand Bell awards, both specifically for South Korean films. But I don’t think that’s how the Oscars present themselves. For a start, films from all over the world can, and do, win awards; they are not limited to American or English-language films. There is an unspoken rule that every film – or at least every film that had a release in LA – is in contention. Last year’s Best Picture winner, Green Book, not only beat every American film but every Dutch, South Korean, Mexican and every other country’s film as well.

Awards Around The World

It does seem that a lot of countries have film awards that are specific to their country, and the Oscars (and the BAFTAs in the UK) are somewhat an exception in ostensibly being worldwide. But I’d argue that for many countries, it’s not their national awards but their film festival that is the big deal. France’s, and perhaps the world’s, most famous film festival is the Cannes Film Festival, with its biggest award being the Palme d’Or. Just glancing over the winners of this award since 2000, nine of the winners had some French involvement; if we eliminate co-productions, that goes down to two French films. Using the same criteria, The Golden Bear from the Berlin International Film Festival only has two films where Germany was involved in co-production. Without prior knowledge of the geography of Italy, I don’t think someone could work out any bias in the Venice Film Festival to its host country, since 2000 Iranian, South Korean and Venezuelan films have won the Golden Lion, with only one Italian film winning that award in that time.

10 Billion Reasons Why

So why do films from outside America fare so poorly at the Oscars? Well, most Oscar voters are US-based, so perhaps there is a bias there. But also, the American film industry is huge, making over $10 billion in 2017, and it would make sense that the biggest and most successful country would dominate awards. Again, like no other country, American films are watched around the world. In Britain and America, to even consider watching a film, not in English, is considered a signifier of high-brow intellectual tastes, whereas to like American films in other countries is the norm. However, it can’t simply be that America makes more films; if nothing else, India actually produces more. Parasite is only the twelfth film that isn’t in English to be nominated for Best Picture – and the first to actually win – and I think it is impossible to argue that such a list represents the best films ever made.

Another very interesting point in all of this is that for all of Parasite’s success at the Oscars, it received no acting nominations. The same was true of Roma last year, a film not in English that did well at the Oscars, and Slumdog Millionaire, which won eight, including Best Picture, but featured a cast of non-white actors who, when compared to typical Oscar nominees, weren’t at all famous. To me, it seems bizarre that a film that was considered the best of the year would not contain a single-acting performance worthy of an Oscar nomination. Is this bias towards American actors (and admittedly British actors who seem to be at no disadvantage), or is it simply that Kang-ho Song and Sun-kyun Lee do not have the name recognition as Brad Pitt and Renee Zellweger? As a case in point, I could rattle off the stars of Once Upon A Time In Hollywood or The Irishman, but had to look on IMDb to find the names of Parasite’s stars.

I think it’s clear that the Oscars are not really a competition without bias, but despite this, a foreign film can still win big. And, of course, even being nominated for an Oscar will raise the profile of a film that lacks the marketing power of something like Joker. If pushed, I feel that most people would admit the bias towards America and would see that as perfectly natural.

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In Bong Joon-ho’s Palme d’Or winning Parasite, those organisms are the Kim family. A group who, struck by misfortune and lack of wealth, try to make a living from what they can in their semi-basement apartment. They fold the pizza boxes for a local restaurant, use the WIFI of the person who lives above them, they risk their own health to take advantage of local fumigation via their open windows, and they have to watch each night as drunk men piss outside those same windows. So when an opportunity to tutor the daughter of the wealthy Park family befalls the son of the family, Ki-Woo (played with hope and grit by Choi Woo-shik) a plan emerges. 

Ki-Woo likes plans, to know the next step, to already have his counteraction prepared. As it becomes clear the youngest Park child needs an art tutor, he suddenly ‘remembers’ someone he’s heard of and thus, his sister, Ki-jeong (a deftly cool and calm Park So-dam), takes up the mantle of Jessica – an artistic genius and expert in art therapy who studied in the USA. Soon, there appear to be roles for the entire family and they set about making it happen. Utilising titbits of information they hear from the family they find ways to oust the driver and the housekeeper, leaving room for Ki-teak (Song Kang-ho) and Chung-sook (Chang Hyae-jin) to take over. Their infiltration of the Park family is ruthless and smooth.

What then of their host, the Park family? The mother, Yeon-gyo (played sweetly by Cho Yeo-jeong) whose ignorance to the world outside is unwittingly antagonistic and her maternal anxiety only seems to stretch to her youngest son. The father, Dong-ik, the CEO of an IT company, who brings home the money and wins over his son with gifts. They are two people who, as the film twists and writhes into unexpected places, become more grotesque as their out-of-touch air wrestles with their lack of empathy for others. As for their children, Da-song, is a seemingly wild, uncontrollable child while Da-hye is a shy, self-conscious teen, aware of the lack of attention she gets from her parents and thus finds romantic entanglements with all her tutors. 

The Parks live in an enviable mansion mostly protected from prying eyes by tall trees in their garden. The suave house, filled with motion sensors, cool chrome finishes, and Voss Water, is the stage on which this symbiotic relationship plays out. The Kim’s infiltrate and live off the Parks and the Parks, ignorant to the toils of the working classes, are none the wiser. 

To talk too much more about the film’s plot would rob the viewer of experiencing its wild ride (and it is wild). Instead, what is more, beneficial is thinking about Parasite has to say, with class strategically centred in this astute and pointed story of a wide and cavernous divide. But, make no mistake, the evaluation of Parasite as class warfare is not this critic engaging with the film’s subtilties, far from it. The film wears its anti-capitalist message on its sleeve, open and in plain sight with no chance you could miss it. That is, in fact, one of its strongest qualities: its unabashed commitment to its thesis. The world of the film is the same as the world we live in, the rich find it hard to see the poverty for the trees that they surround their massive houses with. Global warming leads to hotter summers for those beach getaways and rising house prices mean a stronger investment in property and likely more needy tenants to rent to.

It is not the only film to grapple with this divide that simply cannot be ignored. In a piece for Vulture, critic Alison Willmore wrote, “lass rage on the big screen provides a reflection of the particular despair and frustration underscoring our real-world present, where the divide between security and anxiety, both here and abroad, is ever more cavernous.” Willmore placed Parasite alongside 2019’s slew of films that examined that class gap including Ready or Not, Hustlers, Knives Out, and more. Does this mean things are changing?

Parasites notably weaken their host, but when it comes to class nothing seems to be budging, nobody appears any frailer. The rich keep getting richer, the money builds up as billionaires see tax decreases and off-shore accounts continue to exist. But the working classes see none of that dough, it isn’t put back into the economy unless you count the poor wages paid for zero-hour contracts or casual work. And if you don’t like it? There’s a line of hundreds just like you, in need of work, lining up around the block to survive. If there were a job opening ‘500 university graduates would go for it’, Ki-Taek says, highlighting the grim prospects that a lot of young people know all too well. 

Bong Joon-ho’s social commentary flick is made more effective through the stylish and gripping way the story unfolds. It’s dark, funny, clever, surprising, and I’m sure I could use almost every adjective in my lexicon. I could go on for hours about the way class and politics come into play but I won’t. All I’ll say is this: parasites don’t intend to harm their host, that is a by-product of the way in which they exist. They want, as all creatures do, to live. 

Rating: (5 / 5)

Parasite is being distributed by Curzon in the UK and will be in cinemas 7^th February 2020.

Also Read: The Anatomy of a Christopher Nolan Film

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