Foreign-Language Films To Watch After Parasite's Best Picture Win
It's the perfect time to seek out movies from other countries
We’re still riding high on Parasite’s historic Best Picture win at the Oscars last Sunday. It still doesn’t feel real. In honor of Bong Joon-ho’s Oscar-winning masterpiece, we are recommending the best foreign-language movies streaming right now. There’s a whole world of great foreign films out there, and there’s something for everybody. To quote Bong himself, “Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.”
But before we do that, a huge shoutout to everyone that participated in the 2020 DYLA Oscars Prediction Contest! Our winner was Geraldine, who correctly predicted 7 of the 8 categories! There were four people that got 6 of the 8 correct: John Bergman, Taylor Blake, Paul Clifford, and Joe. The average score was 3.9. Thanks to everyone that joined in the fun.
Drew recommends…
Burning (streaming on Netflix)
Until Parasite, no Korean film had ever been nominated for Best Foreign-Language Film at the Oscars. Considering South Korea has a reputation for making some of the most daring and original movies of at least the last 20 years, this was a stain on the Academy’s record. In 2018, Burning came very close. It made the shortlist for the category, but did not end up getting nominated. After watching this spellbinding and mesmerizing masterpiece, I just had to scratch my head and wonder what the Oscars missed.
Burning is many things. It’s a low-key thriller/mystery, a jealousy-stricken love triangle, and a slow-burn character study. If you need your movies to have tidy narratives that end with full resolution, this one might not be your jam. Ambiguity, subtlety, and suggestion are Burning’s hallmarks, adding up to an unforgettable experience.
The story is centered around three young Koreans. During his low-paying delivery job, Jong-su runs into a childhood friend, Hae-mi, and the two reconnect -- if you know what I mean. Hae-mi asks Jong-su to take care of her cat while she takes a trip to Africa, but when she returns with a friend named Ben, a rich and mysterious “Gatsby”-type, Jong-su can’t help but simmer with barely concealed envy.
The performances in Burning are fully captivating, yet we are purposefully kept at an arm’s length the entire time. As the protagonist Jong-su, Yoo Ah-in plays the character as a little bit of a cipher. He’s inexpressive and difficult to read, deepening the intrigue. Jeon Jong-seo as Hae-mi is more of an emotional open book, and you can see why both men are allured by her. Finally, Steven Yeun steals the show as Ben. Yeun (who you might know from The Walking Dead) plays the handsome, well-to-do stranger to perfection. When asked what he does for a living, his nonchalant response is, “I play.” Yeun is so equally charismatic and enigmatic that you can’t decide if you should feel enchanted or threatened by him.
All three main performances match the film’s tone in that what might look calm on the surface really disguises everything happening beneath it. I had never seen anything by writer-director Lee Chang-dong before, but I was struck by his patient camera and exquisite visuals. Similarly, the script he wrote here keeps you hooked while constantly subverting your expectations. It’s slow, to be sure, but the momentum gradually builds to a shocking and explosive finale.
Crouching Tiger, Hidden Dragon (streaming on Netflix)
Crouching Tiger, Hidden Dragon walked so Parasite could run. Almost 20 years ago, Ang Lee’s martial arts epic was a bonafide sensation in the United States, grossing $128 million at the box office and winning four Oscars to go along with ten nominations. While it didn’t win Best Picture or Best Director, it was one of the most successful foreign-language movies of its time.
Why was it so successful? Probably because it’s so -- and sorry to use a cinema scholar term here -- badass. Crouching Tiger, Hidden Dragon remains an awe-inspiring achievement that just about any movie lover can enjoy. There are insanely graceful action fight scenes, grand romantic relationships, and a sublime and gorgeous setting where all of this can happen.
The film takes place in early 19th century China where a martial arts master’s 400-year-old sword, Green Destiny, is stolen. As the thief is pursued, dazzling fight sequences commence along rooftops and treetops (seriously, watch this scene). This isn’t supposed to be realistic combat. The characters defy physical laws during these battles, floating and suspending themselves in the air to truly majestic effect. But the best part is Crouching Tiger doesn’t skimp on the story. It doesn’t allow your interest to falter in between sword fights because this compelling tale about love and fate won’t let it.
Director Ang Lee has gone on to have a bizarre Hollywood career. He’s responsible for highly acclaimed work like Brokeback Mountain, but he’s also made lesser movies like the recent Will Smith vehicle Gemini Man. Crouching Tiger, Hidden Dragon will probably go down as his career pinnacle. It’s an ambitious and breathtaking movie that hasn’t really seen an equal of its kind.
Billy recommends…
The Farewell (streaming on Amazon Prime)
Easily the biggest snub of the Oscar season. A movie that is masterful in direction, acting, and writing is a rare feat. Certainly one of those aspects would be honored? Nope. Completely shut out and it is time to praise a movie that needs to be seen. Director Lulu Wang lived the story that she directed. Her family immigrated to the United States and her grandparents stayed in China. A custom that seems so obvious to the Chinese people is abhorrent in American culture. The conflict that comes from that is equally hilarious and challenging.
While working in New York our main character Billi hears news that her grandmother -- to Billi she is ‘Nai Nai’ -- is sick and does not have much longer to live. The adults/kids of Nai Nai decide that it is best to leave Nai Nai in the dark and not tell her that she is sick. The diagnosis is scary, but she is still acting like her old self. Instead they devise a plan to have an arranged wedding so that everyone in the family has an excuse to come back to China and visit Nai Nai one last time, except Billi. Billi is not allowed to go back because the rest of the family is afraid that she would betray them all by telling Nai Nai the truth. Billi decides to defy her family's demand and go to China anyways. Bringing about a wonderfully touching story about cultural norms and the internal struggle that is unique to an immigrant story.
Growing up in one culture while your parents grew up in another brings about conflict that only certain people can understand. While in one scenario answers are obvious, but once a new one brings old familial norms back into the mix the answers become almost unanswerable. Nai Nai is thriving in her late years, despite being incredibly ill, partly because she doesn’t know. Her body will eventually decay, but why speed up the inevitable? Then there is the obvious right of a person having the right to choose what they want to do when an illness is affecting their body. Our main character Billi wants to respect the wishes of those who are trying to abide by Eastern traditions. The deceitful decision leads to a new type of connection between Billi and Nai Nai.
Nai Nai is the classic example of a grandmother constantly judging, but out of some weird place of love. She just wants her grandchild to be loved, healthy, and content. The way she shows that is by constant criticism. This time it is different. All the nags are being shot at Billi still, but this time she shows more patience with it all. At points even finding joy in her Nai Nai’s antics. This dynamic is where The Farewell separates itself from other family dramas. This ridiculous and immoral decision to keep Nai Nai in the dark leads to so much hilarity, fun, and pain, allowing for an enjoyable experience for any viewer.
The Young and the Damned (streaming on Amazon Prime)
In this episode I want you to watch a great 1950s, black and white, AND foreign film. Luis Bunuel is a director that I have been going through over the past few months and like any “class” like this it is necessary to go through the interesting before you get to the good. Bunuel finally hit his stride with his film The Young and the Damned. A group of juvenile delinquents that live a violent and crime-filled life are stuck in the decaying parts of Mexico City. Our only source of good comes from our young friend Pedro, a rebellious young boy trying to impress his friends while also attempting to break away from this unhealthy life.
Bunuel clearly wants The Young and the Damned to be an indictment on the system that traps families in a vicious cycle of poverty and despair. He does this through characters that I personally did not feel much empathy for. While they are children, they are mostly evil. Particularly the character El Jaibo. He is the “Jordan Belfort” of the group of kids. Slightly older, incredibly suave young man who is the main influencer for this young gang. He mentors young Pedro who does not receive love from his mother because his mother does not approve of his behavior. Pedro constantly vows to be a better boy, but constantly runs into the impressive El Jaibo.
The lack of empathy this movie provides is the reason Bunuel’s The Young and the Damned is so impressive. In most movies like this a director tries to create empathy in morally bankrupt characters, showing slight glimpses of good so that their appalling behavior can be tolerated and the commentary on “the system” is more obvious. Bunuel decides to show the true horror of a system that traps people. It leads to truly abhorrent behavior that cannot easily be forgiven, but our understanding of their situation builds up enough empathy to accept these people and hopefully fight for changes that can help them. This is a tough watch, but a rewarding 90 minutes from a director that needs to be remembered.
Recent Release Mini-Reviews
To All the Boys: P.S. I Still Love You (streaming on Netflix)
Drew: That’s right, a rom-com review on DYLA! As someone who found themselves surprised by how much they enjoyed the original To All the Boys, I was curious to see what they would do with the sequel (which went up on Netflix this week). It turns out the answer is create a love triangle between the lovable Lara Jean (Lana Condor, a potential major movie star), heartthrob jock Peter, and newcomer John Ambrose. While the storyline of the original is much more interesting, there are still joys to be discovered in P.S. I Still Love You. Somehow the To All the Boys movies are able to mostly sidestep over-the-top sentimentality while still giving you the classic elements of the sweet teen rom-com. - 3.5 / 5 apples
See more reviews on our Letterboxd page
Links to get you hyped
Get ready to enter the quirky and wonderful world of Wes Anderson once again! The trailer for his July movie The French Dispatch dropped this week.
Margot Robbie and Michael B. Jordan have joined Christian Bale in the cast of David O. Russell’s (Silver Linings Playbook, The Fighter) upcoming movie.
The Hunt is a satirical thriller -- the premise is that “elites” hunt “deplorables” -- that was supposed to be released in theaters last fall. After a couple mass shootings rocked the country, they decided to postpone its release. Then a very stupid political controversy followed. Now The Hunt is slated to open on March 13. I’m sure everyone will be very calm about it.