#Woo Gwang Ho

[riotinyellow]

is this man just permanently a single father

[fewwordsmanyriddles]

[giveamadeuschohisownmovie]

For the planned American adaptation of “Extraordinary Attorney Woo”, this would be how I’d cast the series:

(Note: obviously the names would be changed due to the difference in setting)

1) Kayla Cromer as Woo Young-woo

2) Rish Shah as Lee Jun-ho

3) Lance Reddick as Jung Myung-seok

4) Jeffrey Dean Morgan as Woo Gwang-ho

5) Chloe Bennet as Choi Su-yeon

6) Anthony Ramos as Kwon Min-woo

7) Maya Hawke as Dong Geu-ra-mi

[darth-rainbow]

I was Gwang Nam. You were Gwang Nam. We were all Gwang Nam at THAT moment ✨

ps: no constructive criticism, thanks.

[muttonthings]

Kdrama Challenge

Day 9: Best Dad

Jang Ju-won- Moving

Lee Jae-man- Moving

Woo Gwang-ho- Extraordinary Attorney Woo

Do Hyun-soo- Flower of Evil

Yoon Sang-gi- Something in the rain

[adamwatchesmovies]

Parasite (2019)

Parasite is the kind of wholly original film that’s impossible to predict. It also has a lot to say about our world, which means there’s no way you’ll be able to catch everything on a single viewing. With plenty of dark laughs, the kind of suspense that will have your stomach in knots, an ending that sticks with you and masterful direction by Bong Joon-ho, it’ll knock you right off your feet - even if you’ve seen it before.

Kim Ki-taek (Song Kang-ho), his wife Chung-sook (Jang Hye-jin), their son Ki-woo (Choi Woo-shik) and daughter Ki-jeong (Park So-dam) make ends meet by snatching up whatever prospect comes their way. One day, Ki-woo finds a job tutoring Da-hye (Jung Ji-so), the daughter of the wealthy Park family. Sensing an opportunity, the Kims scheme, lie and fake their way into the household.

Part of what makes Parasite such a wild ride is that you never know who you should be cheering for or what the movie wants you to feel. When we first meet the Kim family, they’re scrambling around their dump of a semi-basement apartment looking for a free wifi signal so they can get a shipment of pizza boxes sent to them. Folding the boxes is how they’ll pay for their next meal. When they submit their work, part of their earnings is deducted because 25% of the boxes are badly folded. There are four family members. A quarter of the boxes are no good. Hmmm… There’s something funny and pathetic about the way they manage to screw up such a simple, honest job but excel at conning their way into the Park household. The more elaborate and extravagant their scam becomes, the more they thrive. You know it’s wrong, but there’s something "admirable" about their resourcefulness and determination. You don’t feel too bad for the Park family. Aside from Ki-jeong, everyone is actually doing the job they’ve been hired to do and there’s no way she’d get away with spinning her bullshit into dollars if Mrs. Park wasn’t such a dummy.

Then, your feelings about the Kims start changing. It’s one thing for them to exploit the Parks, whose wealth is wasted on them but this quest to get all of them on the same payroll means taking away jobs from other people. As we eventually find out, the current housekeeper of the Park family, Gook Moon-gwang (Lee Jung-eun) REALLY needs this job they’re stealing from her. As the film progresses, Bong Joon-ho shows us how the lap of luxury has made the Parks into ugly, entitled snobs. The more we see of the parents (Lee Sun-kyun and Cho Yeo-jeong), the less we like them. The thing is, the Kims are not much better. They’re also recklessly gobbling up the jobs in their employer’s household at the expense of everyone else. The people currently employed? they’re obstacles to be toppled over, not people with similar plights to their own. They never have a goal to make enough money to move into a nicer home. Their goal becomes to have THIS home, a building they know is too much for two parents and two children. While all of these people are on opposite ends of the financial spectrum, they both disregard others equally.

It would be criminal to give away the big surprises that come at the end of the film - and you probably wouldn’t believe me if I told you what they were anyway. Revealing all the intricacies of the scam would be just as heinous. The proof is that even upon multiple viewings, it’s a horrifying delight to see it play out the way it does. I do want to discuss the very very last scene, however. In the film, it’s presented as hopeful, a long-term strategy Ki-woo will follow to get the family what they desire the most. It all seems good but when you take a step back, you realize how hopeless it is. That final moment is about how wide a gap is between the rich and the poor. It's not about leaving us with a smile on our faces. It’s not as clear as it would be in a documentary but it’s a thousand times more impactful - and entertaining.

Parasite is mesmerizing, the kind of film you want to watch over and over so you can fully appreciate everything. It’s full of surprises, masterfully directed and certainly as good as everyone is saying it is. (Original Korean with English Subtitles, July 25, 2022)

[korelist]

HYDE, JEKYLL, ME // KDRAMA DİZİ YORUMU

UYARI : Yazılar genel olarak spoiler içerebilir. İçermeyedebilir.

İmdb puanı: 7 Benim puanım: 8

Drama: Hyde Jekyll, Me

Hangul: 하이드 지킬, 나

Director: Jo Young-Gwang, Park Shin-Woo

Writer: Lee Choong-Ho (comic), Kim Ji-Woon

Date: 2015

Language: Korean

Country: South Korea

Cast: Hyun-Bin, Han Ji-Min, Sung Joon, Hyeri, Lee Seung-Joon

Yıl olarak  benim kırmızı çizgim olan 2016’yı yakalayamamış olmasına rağmen başarılı bulduğum dizilerden biriydi. Aynı zamanda Hyun Bin’in askerlik sonrası çıkış dizisiymiş. Ama benim için Han Ji-Min ile tanıştığım dizi oldu. Koo Seo-Jin(Hyun-Bin) zengin bir ailenin oğlu ve başarılı bir iş adamıdır. Wonderland isimli bir eğlence merkezinin sahibidir. Soğuk, bencil ve kaba bir karakteri vardır. Kimseyle yüzgöz olmaz, gerekmedikçe iletişime dahi geçmez. Eğlence merkezine bağlı ufak bir sirk işletilmektedir. Sirkten kaçan bir goril ortalığı karıştırdığı gün Seo-Jin sirkin yöneticisi Jang Ha-Na(Han Ji-Min) ile dolaylı ve olaylı olarak tanışır. Ve bu yaşadığı aksiyon sonrası, rakamlara da bakarak acilen sirki boşaltmalarını emreder.

Aynı gün, Ha-Na eğlence merkezinde ufak bir kaza geçirir ve onu birebir Seo-Jin’e benzeyen Robin (Hyun-Bin) kurtarır. Önce ikiz gibi düşünülse de aslında Seo-Jin’in çoklu kişilik bozukluğu (Disosiyatif Kimlik Bozukluğu) vardır. Nabzını belli bir seviyede tutar, heyecanlanmaz, üzülmez yani ani duygu değişikliği yaşamaz ise içindeki canavarın çıkmayacağına inanmaktadır. Bu nedenle vücut değerlerinin kontrol eden bir saat ile dolaşır. Herkese son derece mesafelidir. Sirkten kaçan goril ya da onu yakalayan Ha-Na onun bu sakinliğini bozduğu için Robin ortaya çıkmıştır. Robin ise Seo-Jin’in düşündüğü gibi bir canavar değil, düşünceli, eğlenceli, kibar yani onda olmayan ne varsa odur. Hatta Robin’in kendi hayatı vardır. Çok sevilen bir çizgi roman çizeridir. Kendi arkadaşları, ayrı bir çevresi vardır.

Diziyi Kill me, Heal me” den önce izlediğim için çok şanslıyım diyebilirim. Herhangi bir kıyas olmadan boş bir kafayla izlemek daha keyifliydi. Zira ikisi de aynı sene çıkmış olmasına rağmen “Kill me, Heal me” alır yürür. Onu daha sonra anlatacağım. Şimdi sulandırmayayım ama illede sonrada da olsa bir kıyas yapmam gerekirse, bu dizinin diğerinden en bariz farklı kadın başroldü. Erkek başrollerin ikisi de laf götürmez bir şekilde başarılılar. Bu dizideki kadın başrol; Han Ji-Min kesinlikle Hwang Jung-Eum’dan çok daha başarılı bir oyuncuydu. Keşke diğerinde de Ji-Min oynasaydı dedim.

Aslında dizinin konusu bundan ibaretti diyebilirim. Ha-Na’nın sirki kurtarmak için Seo-Jin ile anlaşmaya çalışırken Robin ile yakınlaşması ve Seo-Jin’in kişilik bozukluğunu düzeltme çabası. Hyun Bin için şunu söyleyebilirim ki, hem sert-soğuk karakterin hem de kibar-düşünceli karakterin hakkını tek seferde vermiş. Oyunculuğu şahaneydi. Dizide tabi ki mantıksızlıklar ya da öyle değil de böyle yapılsaydı daha iyi olmaz mıydılar vardı. Genel olarak kdramaların kanayan yarası sonlar olsa da bu dizinin sonunu da güzel toparladılar. Garip ama güzeldi.

İkilinin uyumunu beğendim. Hem yaşları birbirine yakın hem de uyumluydular. İkinci adam krizimiz aynı karakterin bölünmüş kişiliği olduğunu düşünürsek yoktu diyebiliriz. Bence başarılı bir hikayeydi. Tavsiye eder miyim, ederim. Bu tarz dizilerde çok fazla detay işin keyfini kaçırabileceği için uzatmayacağım. Ama sanmayın ki klişelere yer vermemişler. Artık izleyince görürsünüz.  Han Ji-Min kalp.

Raven Melus

BAŞKA NELER VAR ?

FOTOĞRAFLAR

[mochingblog]

Parasite -Decoding & Deconstructing

Released in 2019, Parasite is a film by director Bong Joon-ho that deals with the issues between the poor and the rich people in society. It is more like a smaller version of South Korea, conveying the stereotype that the rich are happy and the poor are always unhappy. The actors in the film are perfect, but the director put the plot into a movie full of holes. To express and show the problem, it is an ideal commercial film, but it does not reflect the real social issues and is not worth more analysis and reflection. Generally speaking, for a movie with a strong story, there is a minimum requirement for the plot development to conform to the basic logic. Of course, some degree of factual and logical sacrifice is necessary for theme expression and dramatic effect. But this sacrifice of the actual parasite plot does not achieve the same thematic expression effect, which is empty.

First, arranging four family members into the wealthy family, which takes up the first 1/3 of the film, is very dramatic and does not go smoothly with common sense. Suppose the director asked Choi Woo-Sik for a job interview on the first day and suggested that a clip of his sister Kim Ki-Jung would show the character's ingenuity. (19:45 -- 20:37) In the latter part, the director arranged all the members of the Kim family into the Park family was too deliberate. Although the director uses this plot to express the unfairness of wealth and status in the character of the rich who are "naive" and "easy to fool," Bong Joon-ho forgot that the art of cinema comes from the reality of life, above life. This has wholly ignored the plot elements that can foreshadow a character.

If the Kim family moving smoothly into the mansion is necessary for the development of the plot, then they can also be unobtrusively qualified for the work of the mansion; it seems too false and strange. First, being a nanny and a driver for a wealthy family is not a simple job, especially for Gook Moon-gwang nanny, who had worked for years under a former builder before getting used to it. Apart from the work content, the nanny's mannerisms and appearance are entirely different from those of the old couple living in the slum environment. From 50:30-52:00, the director asked Jang Hye-jin to play the role of the nanny, and it can be seen that she was able to do the job very quickly. Then, of course, to convince the audience of the Kim family s deceitful tactics and loopholes, the director features Choi Woo-Sik rehearsing at home (42:00-43:01) and questioning the taste of Jang Hye-jin and Kim Ki-taek with the Park family s son. However, these passages are illogical and undermine the legitimacy of the characters. Let the wealthy family's "easy to fool" side becomes "stupid"; the poor become "Superman."

The screenwriter and director do not understand the appearance of the actual poor and the real rich, divorced from the background of the time to show the characters, will become an artistic puppet that overhead reality. The rich man in the film does not look like the rich man, although the director does not set the image of the successor of the chaebol status or a man born with a silver spoon but is a company boss. Because , the director sets the level of a successful person to be inferior to that of a chauffeur, making people think Park's family got rich by lottery. For example, in the clip (48:00-50:30), Kim Ki-taek made Park Dong-ik and Choi Yeon-gyo believe their fake company, The Care, by using fake business cards to make his wife become the nanny of the Park family. The Park family quickly believed them and did not investigate the company. The rich image played by Lee Sun-kyun is untenable after such content development. Just imagine which wealthy company boss can easily trust others to recommend the company; capitalists rely on exploitation that also has to be social elite. The director does not pave the way for this unexplained plot, nor does he explain the follow-up. Although Bong wanted to use such stories to construct the differences and a follow-up story about the development of parasitic behaviors between the rich and the poor, his characterization was always on the surface. It cannot convince the audience that this is real life. In the movie, the director made Choi Woo-sik and Park So-dam's poor family characters not look even poor. Society has different kinds of poor families because they may have no ability and no chance to get work, but the director only created the poor family with a thoughtful mind, quick-witted, capable of faking and deceiving and planning out the proper lines in advance. For such a family, it would be completely impractical for the director to let them live in a semi-basement setting. If the family's personality is based on reality, it's more likely that viewers will believe that they've already cheated their way to little success.

In addition, on a rainy night of camping, the Kim family occupied the host's house but suddenly encountered a visit from Gook Moon-gwang. Gook Moon-gwang's husband had been hiding in the basement of the house. Both families lived tough, and both think each other is a good person just because of poverty, so there is no surplus sympathy to share with others. They also believe that if they are rich like the Park family, they will naturally live sincerely and kindly. (1:02:55 -- 1:09:17) The director is trying to say that poverty is the reason for them or that poverty is the reason for the original sin. To maintain the most basic survival needs, people can break all moral bottom lines and harm others. But why poor? The director didn't expand the content and touch on fundamental reasons. Gook Moon-gwang's family owes money to loan sharks because her husband failed in business. The Kim family doesn't take things seriously on the job. Here, the director's explanation of the social government is absent. The Park family's rich and the Kim family's poor have also become synonymous with good and evil. The conclusion that rich people tend to be good should be based on the premise that everyone has the same moral height, regardless of the rich and poor. However, the movie does not describe the story of the characters played by Lee Sun-Kyun and Cho Yeo-Jeong, but highlights the characteristics of being easy to deceive. The Kim family always wants more after work by cheating. Gook Moon-gwang's husband even thinks life in the villa's basement is so good that he can always live there. Compared with the generosity of the Park family, the director's plot expression made the poor people deprived of even the people's eyes of sympathy.

It would be impossible if the director did not think to express the difference between the poor and the rich, the rich despise the poor. On the contrary, the director is very self-centered in his expression. For example, "smell" is his focus in this film. In the story, the Kim family has many poor appearance plots and loopholes as they become fake rich workers, but the director would not make the Park family notice. Instead, he uses "smell" as a metaphor to make Park feel the taste of the poor. Of course, there's no problem with "smell" as a cinematic metaphor,  but he mistakenly deliberately highlights it so that this element is overused and boring. The director was afraid that the audience could not see what he wanted to express, and he let Lee Sun-Kyun repeatedly say it from beginning to end, regardless of whether it was reasonable. It seems that whenever the director thinks it's time for a "smell" to appear, it should. As for what reason it occurs, no one knows. For example, it's understandable that the killer escapes from the basement and is filled with hatred to seek revenge on the main character's family. The killer stabbed So-dam Park's Kim Ki-Jung because he saw her in the first spot, which is also understandable. However, the problem came when Park Dong-ik picked up the car keys from underneath the killer after he got killed in reverse. (1:52:50-1:55:50) This time, the appearance of the smell is straightforward, as if all the previous preparation is for this moment; all smells created are meant to rationalize Park Dong-ik's killing. The director thoughtfully clarifies Kim's father's "bad" charges, even not evil people into bad ones.

The climax of the conflict that the director has to create when he starts the story but cannot solve the ending. The same goes for the movie ending (1:55:56-1:58:47), where the director keeps the people he needs and cuts out the characters he feels he can't reasonably explain. An inexplicable appearance at the scene of the criminal, the reporter only said "a homeless death" as the result of the investigation; After Kim killed Park and disappeared from the house, the police did not investigate the house and concluded the investigation with the verdict of "Kim Ki-taek is missing." These are places where the ending of the movie doesn't make sense. But the director doesn't seem to care because he only wants to express this parasitic problem of poverty and wealth that can never break through through Kim, who stays in the basement and writes letters, and Kim's son, who gets letters outside. Kim Ki-taek does not know when her son will see the signal but types Morse code once a day (1:59:20 -- 2:04:06). As you can see, the light flash is visible outside but also inside the house. The director doesn't explain whether the Germans will find out about the ending.

As a drama with the gap between the rich and the poor as the main contradiction, it leads to the intensification of the contradiction in reality, and brings a kind of impersonal negative feeling of "yes, life is like this". As a purely entertaining commercial film, it kind of passes, but as a film that provokes human reflection, it does not make any sense, and even has the opposite effect.

Cited Works

Ho, Bong Joon. Parasite. Neon, 2019.

Venkoba, Kandi Sachin, et al. “Parasite (2019) Is a Paradoxical Experience Where in It Houses inside You and Provides Food for Thought.” FilmSpell, 10 Feb. 2020, https://filmspell.com/parasite-2019-is-a-paradoxical-experience-where-in-it-houses-inside-you-and-provides-food-for-thought/.  

Seo, Bo. “'Parasite' and the Curse of Closeness.” The Atlantic, Atlantic Media Company, 11 Feb. 2020, https://www.theatlantic.com/entertainment/archive/2019/10/parasite-and-curse-closeness/600385/. 

[otakusmart]

Top 7 October K-dramas that you shouldn't miss this winter

Hey, you! 'Cheer Up!' as a 'Glitch' will happen to your planned schedule. Because from the next month onwards, quite a few of the much-anticipated shows of your choice will be in your planned schedule. Ready to change your schedule but haven't yet done it? Look at these upcoming K-dramas in October and pick up one on your list. 

Top 7 upcoming K-dramas in October 2022

Cheer Up! https://www.youtube.com/watch?v=TyJky5dyf9U A Korean Drama series focuses on the character Do Hae-Yi, who joined a 50 years old cheering squad, Teyia, at Yeonhee University. Her entry into the club is to lessen the severe economic crisis that their family is facing. Being an academic and bright student, she continued her studies even after facing financial problems at home.  However, many things change for her, in fact, especially for her after going there.  She meets Park Jung-Woo, Jin Sun-Ho, Tae Cho-Hee, Joo Sun-Ja, and Bae Young-Woong (former member and alumnus of the university).  Starring Han Ji-Hyun, Bae In-Hyuk, Kim Hyun-Jin, Jang Gyu-Ri, Lee Eun-Saem, and Yang Dong-Geun, this show will surely be going to win the heart of teens.  The drama will be released on and from October 3 on SBS. ALSO READ: 12 Korean Drama OSTs That Every Kdrama Enthusiasts Know By Heart The Witch's Game  https://www.youtube.com/watch?v=m82rKVlQ28M The Korean Romance Drama glorifies motherhood and women in general and depicts revenge.  Directed by Lee Hyung Sun, the story of the drama revolves around a psychological concept, i.e., a confrontation. It is the confrontation of two mothers and daughters who have sacrificed to a great evil.  The plot then continues to depict how those characters manage to punish the great evil.  This show will be aired on Monday, Tuesday, Wednesday, Thursday, and Friday for 35 min from October 3, 2022, to March 17, 2023.  Love That Will Freeze to Death https://www.youtube.com/watch?v=cYAao9-gyWw Also known as 'Icy Cold Romance' or 'Love Is for Suckers,' this rom-com stars Lee Da-hee and Choi Si-won.  Two 30 years old people unexpectedly meet each other after 20 long years.  They meet on a reality dating show, and it shows that both have romantic feelings for them.  Choi Gyu-Sik directed drama, distributed by SkyTV, will be released on October 5, 2022, on Wednesday and Thursday at 21:00 (KST). Bad Prosecutor https://www.youtube.com/watch?v=QigJC9b1Ft8 Starring Doh Kyung-soo and Lee Se-hee. Bad Prosecutor is about the Prosecutor who punishes the corrupted power with trickery and practical help. Doh Kyung-soo can be seen to be the prosecutor as Jin Jung and Lee Se-hee as Shin A-ra, the senior prosecutor, along with the suporting actors Lee Si-eon, Ha Jun, Kim Sang-ho, Kim Tae-woo, Yeon Jun-seok, Joo Bo-young, Lee Hyo-na, Choi Gwang-il, and Yoon Jung-seop. This show is planned to be released on KBS2 on October 5, 2022, every Wednesday and Thursday at 21:50 (KST). Glitch https://www.youtube.com/watch?v=inGM8RB6H00 Hong Ji-Hyo is a girl from a well-to-do family. She has a balanced life with a steady job and a boyfriend.  However, unstable events begin to occur in her life from the night her boyfriend disappears. While searching for him, she discovers the covered secret with the help of the UFO watchers' community.  Roh Deok directed show stars Jeon Yeo-been as Hong Ji-Hyo and Nana as Heo Bo-ra. The show is scheduled to be aired on October 7, 2022, on Netflix. ALSO READ: 10 Korean Dramas With No Romance To Kickstart Your K-drama Journey Vengeance of the Bride https://www.youtube.com/watch?v=fHPtWKlnYGI Eun Seo-Yeon, a pleasant woman, leads her healthy life by running a business producing cosmetics and selling them online. In a make-up salon, she also works as a staff.  One day she learns that their family friend Kang Baek-San, who runs a large cosmetics company, is actually held responsible for her parent's death. To avenge her parent's death, she marries his son Kang Tae-Poong.  The show with suspense has booked to be released on October 10, 2022, and will continue till 2023 on Monday - Friday at 19:50.  The Queen's Umbrella https://www.youtube.com/watch?v=SAlyRsCAJQ8 Aside from the rom-com and suspense, this Netflix K-drama has made its ground.  This historical drama talks about the troublemaking princes for whom their mother or the Queen lives in misery.  However, for the sake of her children, she accepts all the pain. However, this Queen is not like any other; she is very hot-tempered.  Directed by Kim Hyung Shik, the show stars Kim Hye Soo. The 16 episodes drama will begin on October 15, 2022, and will be continued till December 4, 2022, with 60 mins approx runtime.  ALSO READ: Best Kdrama on Netflix: Most popular South Korean Dramas on Netflix Today (2022) Read the full article

[agendaculturaldelima]

   #ProyeccionDeVida

🎬 “PARÁSITOS” [Parasite / Gisaengchung]

🔎 Género: Intriga / Comedia / Drama / Thriller / Familia

⌛️ Duración: 132 minutos

✍️ Guión: Bong Joon-ho y Han Jin-won

🎼 Música: Jung Jae-il

📷 Fotografía: Hong Kyung-pyo

🗯 Argumento: Tanto Gi Taek (Song Kang-ho) como su familia están sin trabajo. Cuando su hijo mayor, Gi Woo (Choi Woo-sik), empieza a dar clases particulares en casa de Park (Lee Seon-gyun), las dos familias, que tienen mucho en común pese a pertenecer a dos mundos totalmente distintos, comienzan una interrelación de resultados imprevisibles.

👥 Reparto: Lee Sun-kyun (Park Dong-Ik), Cho Yeo-jeong (Yeon-kyo), Park So-dam (Ki-jung), Choi Woo-shik (Ki-woo), Park Seo-joon (Min), Song Kang-ho (Kim Ki-taek), Jung Ji-so (Da-hye), Park Myung-hoon (Geun Se), Jang Hye-jin (Choong sook), Lee Jung-eun (Moon-gwang) y Jung Hyeon-jun (Da-song).

📢 Dirección: Bong Joon-Ho

© Productoras: Barunson, CJ Entertainment, TMS Comics, TMS Entertainment, CJ E&M Film Financing & Investment Entertainment & Comics

🌎 País: Corea del Sur

📅 Año: 2019

📽 Proyección:

📆 Martes 04 de Junio

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[rakiyaworldcinema]

Parasite

"Parasite seamlessly blends genres all while challenging social hierarchies, and offers a biting critique of economic inequality. The film follows the Kim family, who find cunning ways to infiltrate the lives of the wealthy Park family, leading to devastating consequences.

At its core, "Parasite" is a story of two families at opposing ends of the socio-economic spectrum. The Kims, living in a cramped basement apartment, struggle to make ends meet. Their lives take a turn when Ki-woo, the son, secures a job tutoring the Parks' daughter, Da-hye. With charm and manipulation, the Kims insinuate themselves into various roles within the Park household.

As Ki-woo infiltrates the Park family, other members of the Kim family follow suit. His sister, Ki-Jung, poses as an art therapist for their young son, while their father, Ki-tak, becomes the chauffeur, displacing the loyal driver without the Parks' knowledge. Chung-sook, the mother, secures the role of the housekeeper by orchestrating the dismissal of the original employee.

the film's brilliance lies in its ability to shift tones, starting as a dark comedy and evolving into a tense thriller. Bong Joon-ho's masterful storytelling is complemented by the performances of the cast, capturing the nuances of each character and their complex relationships.

The Kims discover the existence of Moon-gwang, the former housekeeper, who has been secretly living in the basement of the Park residence. This revelation sets off a chain of events that unravels the delicate web of deception. The plot escalates into a riveting climax, revealing the harsh consequences of the parasitic relationships that have formed between the two families.

The film deftly explores the consequences of unchecked capitalism, as the Kims exploit the vulnerabilities of the Parks to escape the confines of poverty.

[fewwordsmanyriddles]

[baenxietydad]

Swynrpwrimo Task #16 - Character #Inspo

Find five existing fictional characters who remind you of your character (or who inspired your character) and write a little bit about how that character relates to your own.

[tracker]

Eight characters that inspired or reflect Marlin

Woo Gwang-ho (Extraordinary Attorney Woo) / Chidi Anagonye (The Good Place) / Joel Hammond (Santa Clarita Diet) / Dorothy Zbornak (Golden Girls) / Lorelai Gilmore (Gilmore Girls) / Appa (Kim's Convenience) / Aziraphale (Good Omens) / Baek Isak (Pachinko)

Woo Gwang-ho - The way they love!! Their children!! And he's a single dad! Gwang-ho's daughter is also disabled (autistic) like Nemo is (his wing) and he will not abide his daughter being treated poorly because of it and I love that for Gwang-ho and Marlin both. And the way they both gave up things important to them for their childrens' sake. Gwang-ho, his career as a lawyer. Marlin, his home country.

Chidi Anagonye - Look at that ball of existential dread and tell me that ain't Marlincore. I rest my case.

Joel Hammond - Joel is SO Marlin! The one-liners are simply /*chef's kiss*/ and it's the way he literally would and does do murder for his wife lmao. Your man would never.

Dorothy Zbornak - This is more inner Marlin than outer Marlin, but god Marlin really is...such a bitch <3 respectfully to mother Dorothy, patron saint of queen bitches <3

Lorelai Gilmore - Lorelai/Rory is such Marlin/Nemo energy! They're best friends<3 They love each other SO much and are super close, they sometimes just be hanging out like besties especially now that Nemo's twenty.

Appa - So, this is more so Appa's relationship with Janet in the show than the whole character. But his relationship with his daughter Janet is very Marlin and Nemo! The character as a whole does have Marlin vibes but especially that character relationship!

Aziraphale - This one is a little more you need to squint. But! Ahem, allow me. Aziraphale is bad at being an angel despite that simply being what he is. Marlin is often regarded as being "bad" at being a fairy, with his slightly individualistic tendencies. At the same time he's inherently "bad" at the human world because he's a Hollow-raised fairy. He's a little bit of a bastard, not enough to make him a terrible person, and a lot of it is internal or only comes out when talking shit to people he's close to but he honestly IS a little more mean-spirited than a fairy is expected to be.

Baek Isak - Y'all need to read this book and watch the Apple TV show! It's so good!!! Isak is such Marlincore. For Isak and Marlin both, enabling their wives and children to have a chance at a good life is the most important thing; neither man is ever motivated by the desire for his own success or his own happiness. Marlin cares a little bit about enjoying himself -- primarily with friendships and his hobbies, but it's still secondary to Nemo's needs and wants.

[kyle-reviews]

Parasite Review

After months of anticipation and dodging spoilers online, I finally got to see Parasite, a movie that took not just the Oscars but the whole world by storm. From the very first scene, I knew I was diving into something more than a simple film. Parasite is not just a narrative; it's a social dissection. It places you right in the heart of the lives of two starkly different families and the intricate dynamics between them. As the story plays out, you're left contemplating the underlying themes: social disparity, class struggle, and the disturbing reality of a world divided. The beauty of Parasite lies in its ambiguity, allowing each viewer to derive their unique interpretations and conclusions about its socio-political commentary.

The film opens with the Kim family, living in a semi-basement, scavenging for Wi-Fi, and folding pizza boxes for a meagre living. This introduction captures their humour, resilience, and the everyday struggles of life in the lower classes of society. Then enters the wealthy Park family, living in an architecturally magnificent house, fully immune to the struggles the Kims grapple with daily. The clever, almost parasitic, maneuvering of the Kims to integrate into the Park household provides comic relief and heightens the drama. This dynamic contrast between the two families lays the groundwork for an unpredictable series of events that exposes the stark class divide; something we should probably pay more attention to. The characters in this movie are a masterclass in depth and complexity. Every character, regardless of screen time, is thoughtfully crafted and they all symbolize different aspects of society. Ki-woo, played by the exceptional Choi Woo-shik, personifies the ambitious youth trapped in societal constraints, while the mother, Chung-sook, portrayed by the outstanding Jang Hye-jin, embodies resilience. However, it is Song Kang-ho, who steals the show as Ki-taek, the father figure whose tough exterior masks a man grappling with his reality.

The Park family's portrayal is equally nuanced. Yeon-kyo, played by Jo Yeo-jeong, is not a mere caricature of the clueless wealthy housewife, but a woman navigating her privileged world with her insecurities. The enigmatic housekeeper Moon-gwang, portrayed by Lee Jung-eun, delivers a haunting performance, adding another layer of complexity to the narrative. Parasite takes a sharp turn midway, delivering a gut-punch that shakes you to your core. The movie's climax, set against a picturesque backdrop, descends into an unforgettable sequence of events. A beautifully orchestrated chaos that keeps you guessing, questioning the unfolding reality. The build-up to this climax, with the film's remarkable use of visual metaphors and sound, completely engulfs you in its atmospheric storytelling and the intricate emotional landscapes of its characters.

One of the things that made this movie so captivating for me was, even though the storyline is quite ominous, gloomy, and somewhat dark, I was completely drawn in from the beginning to the end. No other movie has ever given me such a rush of adrenaline. I believe that Bong Joon-ho achieved this by beautifully executing his filmmaking technique. As Bong wrote the script, he made mock-ups of the houses. After paying close attention, I noticed that there were front-facing windows in each house that mirrored the windows in the neighboring house. The poor family's window is small, and they can see a drunken man urinating. An expansive window was built for the rich family which faces a lovely garden. The poor family also lives underground while the rich family lives on a high hill. Bong used High and Low shots to engage the Kim family. We look up at the son as the tutor, and the perspective flips. It was Kyung-pyo's lighting, as well as Bong's framing and shooting style, that helped convey the tone of the film very effectively for me. A lack of sunshine intensified the contrast between the rich and poor which Kyung pyo played with as a way to draw attention to the differences between the rich and the poor. Most of the interior of the rich family's mansion is bathed in warm, natural light throughout the day. Only a small window lets sunlight into the poor family's basement.

One other thing that truly stayed with me long after Parasite ended was how it presented social disparity in an ingenious and haunting style. The film is brilliant in the way it holds up a mirror to society, forcing us to confront uncomfortable realities that we often ignore. Even though I believe movies that deal with such issues of classism and social injustice often don't convey a larger message for a better world, Parasite still stands out for its frank and accurate portrayal of the human condition.

Like an intricate piece of art, Parasite demands reflection and introspection. Its genius lies in its moral ambivalence, refraining from spoon-feeding answers, thereby compelling its viewers to question, analyze, and understand the complex layers of societal structures. Much like life, there isn't an absolute right or wrong, good or evil in Parasite; it’s a compelling reflection of the shades of grey we live in. Director Bong Joon-ho masterfully raises difficult questions about class division, survival, and the human condition but leaves the interpretations to the viewer.

Only and only because of my love for feel-good movies, I give this movie a score of 9.5/10 :)

[raingalaxy]

If we really get another season for extraordinary attorney woo, Minwoo better be well-developed, or I'll start a riot, no one is buying the sudden change, and I really don't want our spring sunshine to be trapped in the" I fixed the bad boy with my love" trope, I can accept a character change of heart, but you need to show me the damn growth. 

Also, he getting development doesn't mean that we need excuse his bullshit, change, grow as a person doesn't mean automatic forgiveness.