Parasite was both the best film and the one that could lay claim to being the movie of the moment. kn8 writes on its history-making Best Picture win at the Oscars
An occasion almost as happy as Park Da-song’s birthday! Photo: Neon This article was featured in One Great Story, New York’s reading recommendation newsletter. Sign up here to get it nightly.All through Sunday night’s Oscars ceremony, it was hard not to filter every category result through the prism of what it meant for Parasite’s chances of becoming the first foreign-language film to ever win Best Picture.
Of course, the basic answer is easy: Parasite won because it was that rarest of creative accomplishments, an utterly hypeproof film. I can’t count how many times these past few months I heard someone say, “I usually don’t go for things everybody else likes … except Parasite.” No film is ever unanimously acclaimed — just ask our lovely commenters — but Parasite seemed to enjoy the kind of approval rating that any of the Democratic candidates would kick a woman down the stairs for. It was funny.
I’m also reminded of something composer Alexandre Desplat told me earlier this season, about why he won his first Oscar after failing to take home the gold so many times before. “As good as you think your [work] is, what counts is the vibe of the moment,” he said. “It’s about what’s happening around the world, in the industry, and in cinema at the same time.” As it happens, Parasite was both the best film and the one that could lay claim to being the movie of the moment.
But the greatest movie in the world is worth nothing if you can’t message it, and credit must also go to Neon, the indie distributor that nabbed the rights to Parasite back in the fall of 2018 and ran a masterful campaign.
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