Parasite Eve Remake Pc

[Diante Scharsch]

Hollywoods history with films made outside the US has always been a complicated and tenuous relationship. International films are recognized and awarded at the Oscars, but with the caveat of being pigeonholed into the category of "International Films". There are some films that are able to break that barrier, but many more are ignored and categorized by their country of origin rather than their body of work.

Let's face it, remaking an international film can be a cash grab. You're taking something that worked effectively in another country, tweaking it to remove any cultural references you're afraid American audiences won't understand, and releasing it to a wider audience. If it didn't work financially, they wouldn't be doing it. It works for the bottom line and will likely continue to do so.

Yet it's often the case that these remakes pale in comparison to the original quality of the film they're adapting. Take 2016's Oldboy, for example. This is a remake of the beloved 2003 film by the same name, directed by the South Korean director Park Chan-Wook. Park Chan-Wook benefits from being a little more widely known than other international directors whose works are being adapted, and his original film is iconic and beloved by many. Its themes are still relevant, and the camera work and performances aren't dated in the least. The same can be said for the Julia Louis-Dreyfus and Will Ferrell film Downhill, which is a remake of the Ruben stlund film Force Majeure. It's not only one of his best, but it's an early look at his career that would make its way to mainstream audiences with his newest, Triangle of Sadness. The original film's subtlety is completely lost in translation for the American remake.

Not as many people know that should, but the 2006 film The Departed was a remake of the Hong Kong classic Infernal Affairs. The movies are different enough, and capable enough, to stand on their own. Yet, Infernal Affairs was never given a wide release in the US, and received no nominations for the Academy Awards. Andrew Lau, one of the directors of Infernal Affairs, was quoted saying that he preferred his original work, and that the remake was more attuned to American culture. This isn't a problem in of itself, after all, it is the point of the remake, but it highlights a key issue behind the idea of remakes altogether.

American remakes don't have to be a bad thing, but when the original artists aren't spotlighted and elevated for the groundwork they put in, it crosses into the realm of exploitation. If something is worth remaking for American audiences, it's worth celebrating and elevating in its original form as well.

To pull things back to the remake of Old Boy, Spike Lee had the tough task of remaking a cult classic film. So, why remake it? In reference to the premier of his remake, Spike Lee was quoted saying this:

Spike Lee, a very talented filmmaker, obviously felt that American audiences would not be willing to watch a Korean film with subtitles. This is a vast underestimation of his audience. People ARE willing to watch a film with subtitles, and they have been doing so for years. This attitude towards audience attention span is part of what Parasite director Bong Joon-ho referenced in his Oscar acceptance speech. He referred to subtitles as a "One Inch Barrier" between audiences and a whole world of amazing cinema.

This, apparently, applies to American producers and filmmakers just as much as it does to audiences. An American remake can be totally capable and stand on its own two feet like The Departed, it can fail in its understanding of the source material like Downhill, or it can commit the cardinal sin of being a boring remake of a classic film like Oldboy. No matter what the end result is, none of it works without the acknowledgment and spotlight of the original creators. Production companies are certainly capable of bringing these movies to the US for a wide release, but until they learn to trust their audience's ability to put themselves in the shoes of someone that doesn't speak their language, they'll continue to capitalize on the works of others and bring rushed remakes to the US.

The script is based on a play Bong wrote in 2013. He later adapted it into a 15-page film draft, and Han split it into three different drafts. Bong said he was inspired by the 1960 Korean film The Housemaid and by the Christine and La Papin incident in the 1930s. Filming began in May 2018 and finished that September. The project included cinematographer Hong Kyung-pyo, film editor Yang Jin-mo, and composer Jung Jae-il.

Parasite premiered at the 2019 Cannes Film Festival on 21 May 2019, where it became the first Korean film to win its top prize, the Palme d'Or. It was released in South Korea by CJ Entertainment on 30 May, and was praised for Bong's direction and screenplay, and also for its editing, production design, and the performances of the cast. It grossed $262 million worldwide on a $11.4 million budget.

Among its numerous accolades, Parasite won the Academy Award for Best Picture at the 92nd Academy Awards, becoming the first non-English-language film to win the Academy Award for Best Picture.[note 1] It won an additional three Oscars, for Best Director, Best Original Screenplay, and Best International Feature Film. It is the first South Korean film to receive any Academy Award recognition, and one of only three films overall to win both the Palme d'Or and the Academy Award for Best Picture, the first such achievement in over 60 years.[note 2] It won the Golden Globe Award for Best Foreign Language Film and the BAFTA Award for Best Film Not in the English Language, and became the first non-English-language film to win the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. As of October 2022, a television series based on the film was in early development.

The Kim family lives in a semi-basement flat (banjiha) in Seoul, have low-income jobs, and struggle for money. Min-hyuk, a university student, gives the family a scholar's rock meant to promise wealth. Leaving to study abroad, he suggests that the Kims' son, Ki-woo, pose as a university student to take over his job as an English language tutor for Da-hye, the daughter of the rich Park family. After his sister Ki-jung helps create a false certificate for him in Photoshop, Ki-woo, posing as a Yonsei University student, is hired by the Parks.

The Kims scheme to get each of them a job with the Parks. Ki-woo recommends "Jessica", actually Ki-jung, as an art therapist for the Parks' young son, Da-song, who has been traumatised after seeing a "ghost" in their kitchen. Ki-jung frames Yoon, Mr Park's chauffeur, by making it appear he had a sexual encounter in the car, then recommends her relatives' chauffeur, in actuality her father, Ki-taek, to take his place. The Kims exploit the peach allergy of the Parks' longtime housekeeper, Moon-gwang, to convince Mrs Park that she has tuberculosis, and the Kim matriarch, Chung-sook, is hired as her replacement. Ki-woo begins a secret romantic relationship with Da-hye.

When the Parks take a camping trip, the Kims revel in the luxuries of the house. Moon-gwang appears at the door, telling Chung-sook she left something in the basement. She goes through a hidden entrance to an underground bunker created by the architect and previous homeowner (who was too embarrassed to inform the Parks of its existence). There, Moon-gwang's husband, Geun-sae, is revealed to be living in the bunker while hiding from loan sharks; he is also revealed to be the "ghost" Da-song saw attempting to come out of the bunker to steal groceries from the Parks' refrigerator. Chung-sook refuses Moon-gwang's pleas to allow Geun-sae to remain in the bunker in exchange for regular payments, but the three other eavesdropping Kims accidentally reveal themselves to be related. Moon-gwang films them on her phone, inadvertently revealing their deception, and threatens to expose them to the Parks.

The Parks call to say that they are returning early due to a severe rainstorm. The Kims subdue Moon-gwang and Geun-sae, tying them up and hiding them in the bunker. Ki-jung, Ki-taek, and Ki-woo hide under a table, and overhear Mr Park's comments about Ki-taek's odour, one he associates with lower-class people. The Kims eventually escape, but the torrential rain floods their flat with sewer water, forcing them to take shelter in a gymnasium with other, similarly displaced people.

The next day, Mrs Park hosts a garden party for Da-song's birthday, compensating for the failed camping trip, with the elder Kims' assistance; the younger Kims are invited as guests. Ki-woo enters the bunker with his scholar's rock to kill Geun-sae and Moon-gwang. Moon-gwang is already dead from a concussion she received during the previous day's brawl, but Ki-woo is attacked by Geun-sae, who uses the rock to knock Ki-woo out, leaving him lying in a pool of blood. Geun-sae then stabs Ki-jung with a kitchen knife in front of the horrified guests. Da-song suffers another seizure upon seeing Geun-sae again. Geun-sae and Chung-sook grapple with each other; she fatally impales him with a barbecue skewer. While Ki-taek tends to Ki-jung, Mr Park orders him to drive Da-song to the hospital. In the chaos, Ki-taek, upon seeing Mr Park's disgusted reaction to Geun-sae's odour, angrily kills him with the knife, then flees.

Weeks later, Ki-woo is recovering from brain surgery. He and Chung-sook are convicted of fraud and put on probation. Ki-jung has died from her injury, and Ki-taek has disappeared. Geun-sae is assumed to have been a homeless man, and neither his nor Ki-taek's motive for the murders are known. Ki-woo spies on the Parks' former home, now owned by a foreign family, and sees a message in Morse code from a light in the stairwell visible from outside. Ki-taek, hiding in the bunker, has buried Moon-gwang in the garden and sends the message every day, hoping Ki-woo will see it. Still living in their basement flat with his mother, Ki-woo writes a letter to Ki-taek, vowing to earn enough money to buy the house and free him.

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