I, Daniel Blake (2016)
Winner of the Palme d’Or at the Cannes Film Festival, Ken Loach’s I, Daniel Blake is a kind of film whose theme of the individual vs. the system, brutal honesty and underlying power make it a compulsory watch for everyone. The story centres on Daniel Blake (Dave Johns), a 59-year old widowed carpenter living in the UK, who is forced to rely on the benefits system (welfare system) to support himself after his doctor diagnosed him with heart problems. What follows is his experience being part of that system where a person is just a number and where there is little place for basic human understanding and compassion. All this may sound mundane and even dull, but the film is anything but that. Under Loach’s nuanced direction, we follow Blake as he makes friends with a single mother Katie (Hayley Squires) and does everything in his power to make his own and others’ lives bearable. The true power of this gentle, realistic film that displays the kindness of others and human hope, lies in showing ordinary people struggling on a daily basis against the system that is paradoxically designed to keep them in the same miserable place.
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Parasite or Gisaengchung is a South Korean dark comedy-thriller from Bong Joon-ho (Okja ((2017)) that won the grandest award at the Cannes Film Festival 2019 – Palme d’Or. I can now happily report that this was a much deserved win and Parasite will be my best film of the year. This film must be seen to be believed – it has been a long time since I enjoyed a movie that much. In Parasite, a Kim family, consisting of a mother, father, daughter and son, is unemployed, poor and living in a basement of one derelict building. Their son, Kim Ki-woo, meets with his old friend and the latter offers him a chance to tutor for awhile one girl of a rich Park family. Kim Ki-woo successfully “infiltrates” the rich Park family, presenting himself as a knowledgeable and strict teacher, and, while doing so, does not forget about his family at home, trying to also secure for them employment positions in the Park family. What follows is the unbelievable chain of events with twists along the way. Director Bong Joon-ho is both subtle and outrageous in his direction and writing, as he tries to satirise a situation whereby two opposite segments of society (the rich and the poor) make a contact that leads to unexpected reactions and a delightful whirlpool of the funny and the macabre. Exquisitely and stylishly presented, Parasite is both darkly hilarious and delightfully shocking, setting a new sky-high standard for black comedy – the style of Bong Joon-ho. Continue reading ““Parasite” Review”