I’m Still Here

Director: Walter Salles

Distributed by: Sony Pictures International

Released: November 2024

Country: Brazil

Not much comes to mind when I think of Brazil, that large Portuguese-speaking South American country. Maybe Pele, maybe the Rain Forests, maybe the largest of the mixed nuts. Certainly not the 1959 BFF Winner BlackOrpheus, set during the Rio annual Carnival. I’m not proud of the fact I knew nothing of the political dynamic or history, since Rio is always seen as a sort of party-town, like Cancun or Vegas or Athens, Ohio. But it seems things were quite unparty-like from 1964 to 1985, when the dictatorship government of the Federative Republic of Brazil was doing the kind of things dictatorships do—including disappearing any person who was a serious threat.

I’m Still Here puts us in late 1970, as we visit with the well-off Paiva family in Rio. The Paivas are a pretty normal, fun-loving family, with Rubens and his wife Eunice raising five kids, ages from about 7 to 18. The movie allows us about 30 minutes of relaxing and enjoying the Paivas as they do stuff we Americans

Ice cream with the family

do with our families—go to the beach, get an sundae at an ice cream shop, listen to current music, and tease each other. But right from the start the oldest kid gets mildly harassed by police on her way home with friends and we see a few stories on the TV of officials being kidnapped by the government. The paradise of family life will not last long.

One day, a few rough-looking goons show up to the house saying Rubens is needed for questioning. It seems Rubens, a former Brazilian Congressmen, had been surreptitiously assisting those opposed to the government and had been under watch for some time. Once Rubens gets into the car escorted by the goons, we’ll never see him again.

But Rubens isn’t the main character of I’m Still Here,

Similar goons taking on Jim Rockford

it’s Eunice, the titular I’m in I’m Still Here. Once Rubens is whisked away for some interviews at an undisclosed location, his wife must keep the family going while not knowing what has happened to her husband. To make matters worse, the government believes that whatever anti-government subversive shenanigans the husband was involved in, so may the wife have been. It’s clear the salad days of life in a spacious house on the beautiful coast of Guanabara Bay have come to an end. The movie is about the strength and determination of Eunice in wake of this life transition.

I’m Still Here is based on the 2015 memoir of the young son of the Paivas, Marcello, who has his own heroic story as a successful writer. But that’s for another movie.

Ain't so bad!

The Title:  Ainda Estou Aqui. I remember Rocky saying something like this to Mr. T after getting the crap knocked out of him. Now THAT was a movie.

Culture:  When we see Rio at the beginning in the movie, it seems like the spring-breakish beach spot of movies like Blame It on Rio when Michael Caine has a sexual thing with his friend’s daughter. But like that movie, a “comedy” poking fun at a man past middle age making it with a sixteen-year-old, I’m Still Here has a darkness just below the surface. At first, a police blockade the older kids have to endure looks pretty similar to a DUI Checkpoint, until we see how the police treat the youths just out trying to have a fun time.

The Court of the Crimson King, 1969

The opening act emphasizes the fun the family has together by using music they enjoy together, including the younger daughters singing along to the 1969 controversial French song “Je T’aime … moi non plus” with the parents looking on, grateful the girls don’t know French. Music also is a form of subversion; we see one of the goons staying at the house looking with slight disgust at the collection, including the cover of King Crimson’s Court of the Crimson King.

Agenda danger: There are definite good guys and bad guys in this film but the fact is, the government was a ruthless military dictatorship and Eunice Paiva was a legit hero, or at least a legit martyr for the cause.

Best Picture that year:  Anora. No, I’ve never heard of it either.

Rating:  My main beef with this movie is its length—clocking in at 138 minutes, it seems to go on a half hour too long. Honestly, this is one of those films I have few complaints about. The filmmakers didn’t stray from the true story and the acting is great—each person in the family shows a bit of personality so you really believe they are a tight, loving family. This is the kind of movie that makes you feel lucky to be American—perhaps it should be required viewing for celebs who think we live in a dictatorship today or for those liberals out marching over how their freedoms are being taken away. Then again, my guess is many on the Left would hold up the Brazilian government as the equivalent of our own. I doubt the Paiva family would agree.

2023 Winner, The Zone of Interest

 

The Zone of Interest

Director: Jonathan Glazer

Distributed by: A24

Released: December 2023

Country: United Kingdom/United States/Poland

Eighty years after the liberation of the Nazis’ most infamous concentration camp, the name “Auschwitz” has evolved into a shorthand moniker for man’s inhumanity to man.  There have been enough shows and movies about such places that one could put on an extremely gloomy film festival on the subject.  We are all familiar with a few titles, perhaps:  Mainstream fare such as Schindler’s List, Sophie’s Choice, and the landmark 1970’s TV miniseries Holocaust; arty films like The Piano and The Boy in the Striped Pajamas; heck, the BFF list includes, by my count, four films, including the great Italian Life is Beautiful, that directly deal with the topic.  Now comes the latest Best International Film winner The Zone of Interest, set not inside but right outside the concentration camp, in the agricultural area intended to buffer the distasteful reality from the nearby Polish populace.  This movie is no less about the Holocaust than the gritty reality of those easily recognizable post-war news reels and pictures of hauntingly emaciated bodies piled up in overcrowded bunks and the piles of dead in their obscene graves.

Christian Friedel as Rudolf Höss

The Zone of Interest is an unpleasant movie about evil.  Based on a 2014 Martin Amis novel, the film
focuses on real life Auschwitz commandant Rudolf Höss and his young family.  Each morning, Höss grabs his lunch pail and goes to work at the camp to do what you do as a concentration camp commandant: running the place, figuring out new ways to be more efficient, dealing with the highers-up, that kind of thing.  Only we never actually see Höss at work—our story mostly takes place at his home just outside the walls.  We see Höss picnicking with the fam, swimming with the boys, joking around with the wife.  Some of it feels normal.  Höss’s wife Hedwig even has her mom over and enjoys showing off to her the house and garden, as if to say, “Aren’t you proud of what I’ve become, Mutti?”  Her mother is impressed except for the faint sound of gunshots and yells in the background, sounds that pervade throughout scene after scene.  Even more disturbing is the normalcy of the Holocaust brought into the lives of the Höss family.  The bucolic Polish setting is an ideal one for picnicking, swimming, and entertaining friends.  The children suffer in ways even their parents cannot see.

Showing mom the backyard pool

The fly in the ointment for this family comes when Höss is offered a promotion to oversee all the concentration camps, meaning he would have to move to Berlin.  When the wife hears of this, she says the same thing Karen Hill said to her husband in Goodfellas when he was considering witness protection—"It’s you they want, not me, right?”  She pushes him to ask if the rest of the family can just stay in the home, even if he has to leave.  He is hurt that it seems more important to her to keep the house than to keep him—another example of the human in the life of a man whose life’s purpose is inhumanity.

The Zone of Interest is a bleak, dreary movie, but at a running time of 105 minutes, it’s digestible enough.  Director Johnathan Glazer’s filmography is fairly sparse, including the dark crime comedy Sexy Beast and the weird drama Birth—The Zone of Interest outdoes those two in terms of gloom.  Even when husband and wife share a laugh, it doesn’t humanize them and in fact, they seem even more unlikeable.  Glazer goes heavy on the metaphor toward the end of the film, assuring us that Höss’s fate will be appropriate to his actions.

The Title: The movie is based on an English novel, with the English title.

Culture: Recently, I got a chance to tour the Dachau concentration camp, near Munich.  Dachau is smaller than Auschwitz, having been the one of the first and longest running camp.  The camp is just east of the smallish town of Dachau, and to get there you take a bus through some of the town.  The Bavarian town is a pretty little place with barber shops and clean streets and quaint storefronts, a sort of reminder that whatever was going on just a few minutes away in the camp, life went on as normal for many Germans.  The contrast between Dachau and Dachau reminded me of the contrast between Auschwitz and the Zone of Interest, the horrors of the Holocaust nestled right up against such a pastoral setting, presumably with the faint sounds and smells from the ugliness so nearby.

Agenda danger: Johnathan Glazer made a good film that won an award so naturally he took the

If you win, come up, accept your little award . . . and fuck off.

opportunity to preach about geopolitics during his acceptance speech.  Glazer bemoaned, “Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people." This virtue-signaling banality was in response to the state of Israel’s military response to the terrorist group Hamas unprovoked October 7, 2023, attack on Israel.  I’m sure it made Glazer feel good about himself and all, but it brought to my mind the Ricky Gervais Golden Globes monologue of a few years prior: “So if you do win an award tonight, don’t use it as a platform to make a political speech. You’re in no position to lecture the public about anything. You know nothing about the real world…”  If only more award winners took that advice.

Best Picture that year: Oppenheimer

Rating: A decent addition to the Holocaust sub-genre.  Spielberg called it the best Holocaust film since Schindler’s List, which to me just seems like a way to allow him to mention Schindler’s List.

2022 Winner, All Quiet on the Western Front

 

All Quiet on the Western Front

Director: Edward Berger

Distributed by: Netflix

Released: September 2022

Country: Germany

Shortly after the beginning of the war in October 1914, the Western Front became bogged down in trench warfare. At the end of the war in November 1918, the front line had barely moved. More than three million soldiers died here, often while fighting to gain only a few hundred metres of ground. During the First World War, almost 17 million people lost their lives.

Sorry for the spoiler, but this text is how Germany’s All Quiet on the Western Front closes. If the filmmakers had just written this at the beginning, it would have saved me and all the viewers a whole lot of time and effort. Even better, had the enemies in The Great War had this information before the power keg of Europe blew, think of the number of lives saved. 

This 2022 BFF winner is based on the 1923 Erich Maria Remarque novel many of us were forced to read in high school (or get the Cliffs Notes, ha ha, just kidding Fr. Streicher). I have never seen the 1930 American version of this story, but while it won an Oscar for Best Picture, I would have no problem believing the German film is much better in a lot of ways. The trouble is, our 2022 version was made over 100 years after the end of the war, which sort of takes the zing our of the point of the film, which is, of course, to paraphrase American Gen. William Tecumseh Sherman, war is no bueno.

The story follows 17-year-old Paul, a naive kid who forges his parents’ signature to be able to enter the German army in 1917. Paul and his pals can’t wait to get to the front and kick France’s ass. It takes about 10 minutes after getting there for them to realize trench warfare isn’t quite as glorious as their schoolmaster had made it out to be. One of the chums, Ludwig, even cries on the first night that all he wants to do is go home. But the only way Ludwig is going home is in a body bag (I’m pretty sure they didn’t have body bags in 1917, but you get the gist).

Ferdinand Foch at the signing of the Armistace

The war drags on and the deaths pile up. Paul and his comrades engage in the kinds of things one does during wartime—scrounge for food, dream of women, talk of what they’ll do when they get back home. An older soldier, Kat, latches on to the group, a wise though illiterate man. Paul worries that the war has changed him, that life will never be the same after all he has seen. Unlike educated Paul, Kat knows getting out of this thing alive is the objective—everything else is gravy.

Simultaneously, we see the big shots behind lines working behind the scenes. On the one hand, German officials know the war is lost and are going to have to stomach some bad terms. The French coalition, led by Gen. Ferdinand Foch, are uncompromising and haughty (this is a German-made film, after all); the Germans, led by the more reasonable Matthias Erzberger (and played by Daniel Brühl, who viewers may remember from Quentin Tarantino’s Inglorious Basterds in a less sympathetic role), have no choice but to sign a bad deal. All the while, like in Stanley Kubrick’s Paths of Glory, another WWI film, the military leadership remain impervious to the sufferings of the grunts, only concerned about personal glory and fruitless ideations.

Daniel Bruhl, Inglorious Basterds

There is much to admire in this film about WWI, a conflict that seems to have been somewhat resurrected in film with Sam Mendes’s 1917 (from 2019) and Peter Jackson’s 2018 documentary They Shall Not Grow Old. More stylish and gruesome than these films, All Quiet on the Western Front draws you in and has you rooting for these ill-fated German kids. Particularly integral to the style is German composer Volker Bertelmann’s Oscar Award winning-score. Like John Williams’s remarkably simple theme from Jaws, the music here consists of only a few notes—from a distorted bass—that alert the viewer that what is coming next isn’t good. Tragedy will come from an ill-fated charge from the trenches or from the delusional words of a German general who on the last day still thinks sending the boys to fight and die is a noble undertaking.

The Title: German: Im Westen nichts Neues. Literally, In the West, nothing new.  Nothing new, indeed.

Culture: If there is one truism of History, it’s that one thing leads to another. World War I didn’t come out of nowhere and aptly serves as the run-up to the war that started in 1939. All Quiet provides a bit of a window into the wartime zeitgeist of the new-ish country that was Germany in the early twentieth century, from the rush of patriotism to the gut-punch of defeat in 1919, particularly in that train car where the armistice agreement was signed.

Agenda danger: This is what we call the classically anti-war film, plain and simple. And do we really need another anti-war film, even if is is a really well-made one? This 147-minute movie can be summed up in a simple Pink Floyd lyric:

Forward he cried from the rear and the front line died.

The general sat while the lines on the map moved from side to side.

Best Picture that year: Everything Everywhere All at Once

Rating: Recommended if you are trying to figure out if you are pro- or anti-war, or if you are in high school and would rather skip reading the novel.

2021 Winner, Drive My Car

Drive My Car

Director: Ryusuke Hamaguchi

Distributed by:  Bitters End

Released: August 2021

Country: Japan

A simple story with an array of complexities, Drive My Car is essentially about communication, or more specifically, our maddening inability to connect to each other in the ways that are most important. The story is of an actor/director who takes it upon himself to stage plays in which the actors speak different languages. The company rehearse their lines over and over to get the timing down, but the younger Japanese lead actor never really understands what all the other actors are saying, as they speak in Korean, Hmong, Cantonese, and even Korean Sign Language. It’s a Tower of Babel production of Chehov’s Uncle Vanya, a story about the wasting of life and love, which in many ways mirrors the events of Drive My Car.

Actor/Director Kafuku and Driver Misaki

Yūsuke Kafuku is the famed actor/director, the ultimate professional who seems to be walking through his life without aim. A tragedy from the past has caused a deep wound in his marriage to his beautiful and equally artistic wife, Oto. While the two are connected deeply, out of love and possibly out of the tragedy they shared, there is a wall between them, an inability to connect to each other in the ways that are most important. One way Oto does show her love is to create cassette tapes of dialogue for her husband, so that he can listen to the lines of other actors as he drives to and from work, with blanks left for him to speak in order to practice the play’s timing.

Kafuku agrees to direct Uncle Vanya for a theater company in Hiroshima, stipulating that the company obtain for him a hotel about an hour away from the theater so that he can drive his prized red Saab to and from each day, and thus be able to listen to his cassettes and perfect the production. However, the company tells him that for because of a past incident, the company requires that a hired driver be used to drive Kafuku each day. Kafuku is reluctant to cede control of the car, but sees that the hired driver, Misaki, a somewhat emotionally damaged 23-year old woman, is more than up to the task.

Another theme of the film is about letting go. The characters tend to be unable or unwilling to address their problems and because of this, they keep them inside as if their sufferings are treasured. We all do this and know others who do. And in seeing the Kafuku, Misaki, and other characters engage in this sort of self-damaging, or at least non-productive, behavior, we want to go up to them and shake some sense into them. They are good people who for one reason or another choose to hang onto what bogs them down.

From the play Uncle Vanya

Some two hour films seem like three; this was a three hour one that seemed like two. The director, Ryusuke Hamaguchi, certainly earned his Best Director Oscar nomination for putting all these moving parts into one flowing story and giving us great visuals to look at along the way. Drive My Car has that rare quality in a film of making you think about it long after you are done watching it. The concept of thoughtfully saying what you mean and listening to what the other person is really saying a lesson for our times. More timeless is the need to let go—whether it’s letting somone else drive, forgiving someone who wronged you, or giving up that scar that represents the hurt you hold onto.

The Title: Japanese: ドライブ・マイ・カー, or: Doraibu Mai Kā

Culture: Hamaguchi uses culture and language masterfully to underscore his themes. The multilingual aspect of Kufuku’s productions are almost comical, as the actors have to pretend to understand what the other characters are saying. Featured are the play Waiting for Godot, by Irish playwright Samuel Becket, and Uncle Vanya, by Russian author Anton Chekov, and there are parallels between the characters of Chekov’ play and the characters in the film, much like 2017 winner from Iran, The Salesman. Subtly, even the titular car has meaning—Kufuku drives his pristine red Saab, which has its wheel on the left side of the car, through Japan, where oddly enough they drive on the left.

Agenda danger: There are layers upon layers of meaning in this profound movie but refreshingly, nothing overtly political.

Best Picture that year: CODA

Rating: Parasite won Best Picture a few years ago, the first non-English film to do so. Drive My Car, which is the better flim, deserved the nominations it got for that award, as well as Best Director and Best Adapted Screenplay.

 

2020 Winner, Another Round

Another Round

Director: Thomas Vinterberg 

Distributed by: Nordisk Film (Scandinavia); September Film (Netherlands) 

Released: September 2020

Country: Denmark (also, the Netherlands and Sweden)

 

What is youth? A dream. What is love?  The content of the dream.

Another Round starts with the above quote from Kierkegaard, the Danish existentialist philosopher. Kierkegaard taught that there are three stages in life: The child, who seeks pleasure; the adolescent, who begins to seek meaning through ethics, and the adult, who realizes that only by accepting the inexplicable (or religious) can a person be happy, given the absurdity of life.

If you are philosophy major, save it, I realize I don’t really know what I’m talking about. But the
story of Another Round involves four teachers, all guys and great friends, who are beyond the first two stages of life. Of the four, one in particular, Martin (played by the “I’ve seen him somewhere” actor Mads Mikkelsen), has come to a point where he hasn’t been able to make that third stage leap just yet. His History class is so dull that the parents stage a meeting to raise their issues with him. When he looks for solace from his wife, asking her if he is boring, all she can muster is, “You’re not what you used to be when we met.” At dinner with his three friends to celebrate a 40^th birthday, Martin has to be talked down from his bringing-down-the-party moroseness.

But how to cheer him up? Well, look to the

Martin and friends pre-experiment

title. One of the friends brings up a clever little “theory” of Norwegian author Finn Skårderud. The idea is that everyone is born with a blood alcohol content (BAC) level deficiency of about .05. The natural corollary is that if one has a couple of blasts and then maintains that buzz, one will maximize one's potential. Martin is the first to buy in, and the next morning before class takes a good pull off a pint of Smirnoff before teaching. He finds himself connecting with the students, coming up with fun ways for them to learn, getting laughs and enthusiasm for probably the first time in years.

Martin tells the other guys about it and they all decide to make a science project out it, with controls and reporting on findings. They all agree to the rule of no drinking after 8pm or on weekends, and each buys himself a breathalyzer to keep tabs on his BAC (amusingly, the number is shown each time someone measures himself). Of course, the lubrication leads to each teacher turning into Robin Williams in Dead Poet’s Society: History is exciting again; music class sounds angelic, and the coach helps the Rudy Gerner of the soccer team bend it like Beckham. The experiment is a success! What could go wrong?

Testing the Skarderud theory

I don’t think I need to put in a spoiler alert to tell you that some things do go wrong, quite wrong in fact. But this movie is not really about the evils of drinking, and while there are tragic elements to it, this story is about friendship and love. And in the end, maybe the friends are able to accept the absurdity of life and yet still in some small way, through their love for each other, hold onto their youth, even if it is a dream.

Note: This film is featured on Hulu.

The Title: Druk. "Binge drinking." Certainly the Danish title is more dark than the English one. The Danish title certainly better reflects the overall theme of the movie.

Culture: Another Round reflects the problem of drinking in Denmark. Danes need only be 16 to purchase alcohol and teens age 15-17 are the heaviest drinkers in Europe in that age range (and that includes Russia!). The movie opens with a shockingly legal alcohol-related race in which you have to suck down a cold one at each turn. Disqualification is the penalty for puking. The school, much like Denmark itself, begins pondering ways to deal with this problem.

Ray Milland in The Lost Weekend

Agenda danger: Yeah, the film’s central theme is alcoholism, and while there is humor, the overall view of the problem is fairly dark. But this movie isn't
The Lost Weekend, the 1945 film that chronicles the horror of one man's alcoholism. In fact, it's maybe the lightest of Best Foreign Film winners in recent years. Consider the themes of some of the last few winners: extreme class disparity (Parasite); the mysogeny in Mexican culture (Roma); the plight of the transgendered (A Fantastic Woman); the Holocaust (Son of Saul); and bleakness of post war Poland (Ida). Some of these are fine films, but what a relief to watch a movie with great acting, Oscar-nominated directing (Thomas Vinterberg) and a story about friendship and love with no villains that don’t come out of a bottle. The fact that Vinterburg’s daughter tragically died in a car accident just four days into shooting seems to have paradoxically made the movie more uplifting than it would have been.

Best Picture that year:  Nomadland

Rating: Pour yourself a neat Smirnoff or just take a couple of slugs right from the bottle and sit down to watch this film. But keep it at that—you’ll want to take all of this enjoyable film in, no chaser need.

 

2019 Winner, Parasite

Parasite

Director: Bong Joon-ho

Distributed by: CJ Entertainment

Released: May 2019

Country: South Korea

Parasite is a tale of two families, and of two (at least) genres: The families are the Kims and the Parks. The Kims—father, mother, brother, sister—are intelligent, resourceful, and seem to genuinely love each other. The Parks are a bit more of a mixed bag: A father who is a bit self-indulgent and doesn’t really respect his wife; an attractive mother who is a bit ditzy and superficial; a teenage sister who seems like a bit of a brat; and a young brother who apparently sees ghosts. The main difference, though, is that the Parks have Bill Gates money and live in a beautiful home with servants on call to do everything for them, while the Kims live in a basement, making money folding pizza boxes, and trying to steal wi-fi from their neighbors and free pest control by opening their windows when the exterminator sprays the streets.

The Kims

The thing is, though, the Kims are crooked, dishonest, and ruthless. The story begins when a friend of the brother tells him he is going abroad to study. He asks the brother to take over with the tutoring of the 14-year old Park girl, since the friend thinks the brother wouldn’t be able to successfully put the moves on the cute but underage Park girl.  See, he plans to do just that in the near future, once she's old enough. Brother Kim gets the help of his artistic sister, who is handy at creating false documents, to get his credentials and scam his way into a job. After that, one by one, the others in the Kim family scheme their way into positions as well: the sister as the therapist for the little Park boy; Dad becomes the chauffeur; and for Mama Kim, the housekeeper job. One night, while the Parks are away on a camping overnight, the Kims have a little drink-fest to celebrate their new situation, working as a family in a dream home.  It's all been too easy.

The film’s first third is mostly comic—you’ll root for the Kims as anti-heroes, enjoying the ride of how they get where they get. But things turn glum when rain forces the Parks to cut their camping trip short, calling home to say they’ll be home in a few. From here on, the movie is more dramatic thriller, starting with the Kims hustling to clean the place like a teenager getting rid of the empties and assorted smells before Mom and Dad get back from their vacation. Here we find the plot thicken, with twists you don’t see coming and aspects of the characters that may change your perceptions of them.

The Park house

Parasite takes its time in letting the plot develop and allows you to get a good look at each member of the Kim family in its own time. The Parks, on the other hand, tend to be on the verge of stereotype, rich people who either lack empathy or brains. Walking out of the film, I got to thinking—are we supposed to favor the Kims over the Parks? The Parks really do seem to be decent people who just don’t appreciate what poverty is. The Kims are struggling and obviously have the resourcefulness that rich people like the Parks don’t have. Yet they don’t seem to care who they hurt to get what they want. In the end, I think the filmmaker isn’t aiming for you to dislike the Parks or the Kims, but the economic system that predestines where they are. It’s that system, one in which one group has to live off the other (like parasites), that is up for criticism.

The Title: 기생충 Director Bong Joon-ho explains: "Because the story is about the poor family infiltrating and creeping into the rich house, it seems very obvious that Parasite refers to the poor family, and I think that's why the marketing team was a little hesitant," he explained. "But if you look at it the other way, you can say that rich family, they're also parasites in terms of labor. They can't even wash dishes, they can't drive themselves, so they leech off the poor family's labor. So both are parasites." I dunno, sounds a bit Marxian for me, but I see what he's saying.

Parasite family, Magoo-style

Culture: Parasite portrays what Koreans call the Hell Joseon, a term to describe the economic concept of the vast gap between the have and the have-nots, and the have-nots' inability to become part of the haves, despite hard work. The grandeur and the modernity of the house in which the Parks live hearkens to Jacques Tati’s Mon Oncle home (which the French 1958 film mocked), with all the conveniences a modern-day homemaker like Mama Park can enjoy. Despite a torrential downpour, the home seems safe and sound, even for a backyard tent sleepover. Meanwhile, the squalor and uncleanliness of the Kims’ basement home suffers disaster because of weather conditions.

Agenda danger: There’s no pretense that this story is about class conflict and the perceived widening gap between rich and poor in South Korea. Of course as bad as things may be, South Korea only need to look north to see how it could be worse. That said, it seems to me the Academy, made up of those firmly in the have rather than have-not camp, bought the message, or at least wanted to reward a film about class conflict.

Best Picture that year:  Well, Parasite. The first Best Foreign Film (officially, now the Best International Feature Film) to win the overall Best Picture Oscar.

Rating:  I liked the comedy part of this film more than the suspense and social commentary, and I enjoyed all the performances. It’s an entertaining film with an great storyline, even if disbelief has to be firmly suspended at the door. 1917 was a better overall film, but this one ranks high on the list of foreign language films.