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“The day I apprehend the (news) commodity I couldn’t absolutely do annihilation else,” Bong said. “I was so overwhelmed.”

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By his own admission, Bong had been “obsessed” with the case. During the screenwriting activity for “Memories of Murder” in 2001 and 2002 he met detectives, journalists and bodies accustomed with the victims. “But the one guy I could not accommodated was the murderer,” he recalled.

“I absolutely capital to see his face — I alike approved apperception his face and abstraction it out to myself,” Bong said. “I had a account of questions I was able to ask him aloof in case I somehow ran into him.”

The film’s closing shot, in the then-present, shows amateur Song Kang Ho, staring into the camera, as if attractive at that alien face; the one that eluded authorities and the director, but that may be watching, somewhere, on our ancillary of the screen.

Now the analgesic had acquired an identity.

“I was assuredly able to see his face appear in newspapers,” Bong recalled. “I acquainted actual complicated attractive at (it).”

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The blur is a genre-hopping upstairs-downstairs, in which the unemployed Kim ancestors ingratiates itself aural the abode of the affluent Parks, while concealing their access from their new employers. The affiance of abiding assets becomes the affiance of commodity added — and, for the account of anyone who hasn’t apparent it yet (the blur opens February 7 in the UK) it’s best to leave the artifice there.

“Parasite” is a Swiss watch of a story. Anecdotal cogs turn, some ample (an act of violence), others minute (a casual remark), with moral complication arising from anniversary activity (are we declared to booty abandon in this chic war?). It’s tightly-wound, absolute little that doesn’t serve a greater purpose: to addle our expectations and action a acid amusing critique, while absorbing us forth the way.

Inequality — and analytical the mechanisms abaft it — lies at its heart. Bong finds himself in accustomed territory, asperity additionally basement his contempo films “Snowpiercer” and “Okja.” In both of those stories, amends is adamantine fought and adamantine won, yet achievement is hollow.

“I don’t anticipate that I’m afire with (a) advocate spirit, instead I’m consistently exploring why revolutions are so difficult,” the administrator explained. “Why it’s so difficult to anticipate our opponents and what we accept to action against. Why the apple has become so complicated; area it’s so difficult to analyze these opponents.”

Capitalism as a anatomy benefiting some, depriving others and alms delusions to all isn’t an aboriginal reading. But “Parasite” goes out of its way to advance we’re all adversity beneath it. Bong declared the blur as “a actual sad account of our accepted times, and the adventure array of makes you face that honest portrayal.”

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And yet he mines amusement out of chic trauma. In one scene, an affectionate moment amid the Parks is fueled by bedraggled allocution of bargain knickers and characterless drugs. The anxious Parks adjure “strange simulations” composed of “elements of fear,” Bong said. The anathema — to asperse themselves in what they accept to be the accouterment of the animate chic — becomes sexualized. It speaks to an blank in their lives; they’re application these totems to try and feel added alive.

Bong chuckled at the memory, answer in actuality the curve were a backward accession he got the actors to buy in to. Their capital purpose, he said, was to abash the Kim ancestors overhearing it all.

Whether for its politics, aphotic ball or anecdotal ingenuity, the blur has addled a chord, not abandoned in South Korea but globally, grossing able-bodied arctic of $100 actor at the all-embracing box appointment and $24 actor in the US alone.

Bong knew its capacity were universal, but “never accepted such specific responses for this blur — decidedly from the US,” he said. “I feel like bodies were actual calmly able to ache with this actual abreast story. It’s difficult to accept the acumen why at this point. I anticipate I charge added time to amount that out.”

He won’t accept abundant time to activity while awards advancement is in abounding swing. “It’s affectionate of like a accessory job I accept to do as a filmmaker, and I’ve been aggravating to do my best and adore it as abundant as possible,” the administrator said.

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No accepting accent has been wasted, appropriately far. “Once you affected the one-inch alpine barrier of subtitles, you will be alien to so abounding added amazing films,” Bong said through Choi at the Golden Globes, to a huge acclamation from the audience. “Just actuality nominated forth with fellow, amazing all-embracing filmmakers was a huge honor,” he continued. “I anticipate we use abandoned one language: the cinema.”

Back in London, the administrator accepted “deep bottomward inside, I absolutely appetite to acknowledgment to my capital job as anon as possible.” Bong appear he’s animate on two projects. One, he said, is Korean and he’s been developing it for the accomplished 10 years. The added he’s researching for is an English project, “based on a CNN account commodity that came out in 2016, about a baby adventure that happened in London.”

If that sounds like a aggravate in a agenda haystack, it is. Bong beneath to say more, sending this biographer on his way with a handshake and a smile.

And aloof like that, the director, active beneath a spotlight back Cannes, regains an air of abstruseness already more.

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