Oscar's big winner, 'Parasite,' and war tale '1917' show how interactive entertainment is shaping linear storytelling — often for the better.
, “We experience life as one continuous shot. It’s editing that’s the gimmick. This allows you a much more sophisticated degree of storytelling. Making a movie always asks the question: Is this really the only way to tell this story? You often find yourself defaulting to standard ways of covering a scene and never challenging it.”
In “Parasite,” the contrast behind the film’s two homes — those of the poverty-stricken Kims and the extravagant Parks — telegraph more than just class divides. The world of the Kims is perilous and fragile while the minimalism of the Parks hints at something not just unattainable but oppressive, so much so that shortly after the Kims plant a flag, they are sent rushing back to start in a more desperate state. Tonal shifts in each are telegraphed by the environment.
Schofield here doesn’t use a bullet to take out an enemy, but instead sneaks around walls as if he’s in the popular Sony game “The Last of Us,” needing to subdue his foes with strategic, silent kills. Bong, too, applies similar covert tactics, at one point placing three-fourths of the Kims underneath a layered coffee table just out of the gaze of Dong-ik and Yeon-kyo .
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