Opening Statement

While watching The Host, I realized that Korea is one of the most exciting countries in movies today. Since then, I’ve seen myriad films of the so-called Korean New Wave and have come away impressed with their ability to breathe new life into stolid genres by throwing them off kilter — by Alex Moore, August 21, 2017

Streaming Survey: South Korean Auteurs

The Korean New Wave has been one of the most important film movements in my life as a cinefile. As a film student trying to consume as much international film as possible, this matched perfectly with the rise of exciting new filmmakers like Park Chan-wook, Kim Jee-woon, and Bong Joon-ho — by Aaron Pinkston, August 22, 2017

First Viewing: Piercing the Monster Movie

It should have been my cue to dive into Bong Joon-ho’s filmography, but the title that kept popping up was The Host, a 2006 monster movie. As much as I thought Snowpiercer was my jam, I thought The Host wasn’t — by John Gilpatrick, August 24, 2017

Incompetence in the Face of Danger

Bong Joon-ho clearly has a lot to say on the geopolitics affecting modern day Korea, a picture he deftly paints by focusing strongly on the effects of this mess on one small family. The most interesting part of the film to me, however, is something a little less serious: protagonist Park Gang-Doo’s terrible incompetence — by Pocket Earnhart, August 25, 2017

Related Review: Okja

With Okja, his latest film, released exclusively on Netflix, Bong Joon-Ho does not disappoint. I’m convinced the man is a magician. He has the uncanny ability of taking a high concept and taking it in a direction you’d never expect — by Alex Moore, August 25, 2017