As the decade comes to a close, so do many major film franchises that have ignited ten good years of fanfare and keyboard wars. Between the epic Endgame and divisive Rise of Skywalker, Glass ended the twenty-year wait for cinephiles who loved Unbreakable, while Dark Phoenix managed to disappoint legions of mutant fans.
Several original studio productions have rightfully shone in their own light, too, and it is on these that this list is based on. In order of personal preference, here are ten of my favourite movies that I have seen and enjoyed in 2019. Until I get to see the late releases, including Monos and Jojo Rabbit. Damn you, licensing agreements!
10. Mirage / Durante la tormenta (dir. Oriol Paulo)
When Vera finds a way to save a young child in the past, she never imagined that she would have to lose her own in the present. Made to doubt her own sanity, all she can do is hold onto her memories as she tries to find her way back into the life that she knew before.
This is the story of Mirage, a time-bending mystery that thrills with its every turn. Though not entirely unpredictable, the emotional core is what does cement director Oriol Paulo as one of the best genre writers today. (review)
Continue reading “Favourite Movies of 2019”
Parasite / Gisaengchung (dir. Bong Joon-ho, 2019) – An unemployed family takes interest in the wealthy Parks and goes down a dangerous road of fraud.
Genre-bending masterwork Parasite dives into the intimate lives of two families, forcing an introspective look into the difficult subject of the world’s growing social divide.
Bong Joon-ho is anything but a conventional filmmaker. Undeterred by controversy, his string of masterworks never steer away from sharp critiques on politics and capitalistic greed. The Host, Memories of Murder, and Mother; few have made movies as resonant as his, earning deserving acclaim for their layered reflection on South Korean society.
Recent years saw him reach English-speaking audiences with genetically-engineered pigs ripe for slaughter (Okja), and a brewing revolution aboard an analogous train (Showpiercer). The commentaries on class divisions again hit home for many, especially during this politically trying decade.
Back on home grounds, the South Korean director continues to transcend borders with his latest social satire on economic inequality. More akin to his former all-Korean productions, Parasite roots itself back in harsh reality, homing in on two families of different worlds.
Continue reading “Review: Parasite / Gisaengchung (2019)”