The South Korean film Parasite, a satire of social and economic inequality, has made quite an impression on two major institutions of world cinema.
At the Cannes film festival it won the Palme d’Or, and then it won Best Film at the Oscars.
It is not difficult to satirise such things, especially when there is an appetite for such in the institutions and audiences of the bourgeoisie. These are feel-good films because they help maintain the myth that world cinema is in fine aesthetic and moral health.
In his previous works (The Host, Mother, Snowpiercer, and Okja) director Bong Joan-ho follows