How Bong June-Ho Mickey Defines filmmaking again with Mickey 17, once again
Bong June-Ho, famous for its styling stories and sharp social criticisms, continues to captivate the audience with its latest release, Mickey 17. From the Oscar Triumph of the parasites to their earlier functions, how Bong’s films mix Bhavna, satire and thrilling storytelling.
Bong June-Ho is what you will call a Mavrical while talking about filmmaking. It will not be a lie when I say that I want to be like him – what he does in what he does.
For those who have experienced their latest release, Mickey 17, they (hope) will agree. But even before that, Bong had already made a place in cinematic history, such as memories of memories, Oakja, hosts and of course, with films like Oscar winning parasites. His story, unique vision and fearless approach to conclusion styles make him a filmmaker contrary to someone else.
Bong June-Signature
Bong’s film production is marked by some defined symptoms: a razor-sharp criticism of social structures, the ability to originally move the unexpected stories and tons. He crafts films that can be deeply emotional, but the evil funny, thrilling still breaking.
For example, take memories of murder (2003). A recreational crime thriller based on South Korea’s first serial killings, it is a masterclass in stress and realism. Is it extraordinary how it transfers specific Whodunit format. Bong not only focuses on the crime, but reaches the depth in the flaws of the investigation. The film remains one of the best detective thrilpers ever since long after the staller performance, especially from Song Kang-Ho, and long after a long time of credit rolls.
Then is the host (2006), which takes the Monster Movie style and injects it with family drama and cuts political satire. When a mutant creature comes out of the Han River, kidnapping a young girl, her laxity family climbs a desperate rescue mission. Whatever the host raises is not only a creature, but keeping the film wildly entertaining, the government’s ability to weave in the disability and media manipulation subjects.
In Okja (2017), he takes a different view. The director deal with corporate greed and animal abuse. After a young girl’s visit, she is trying to protect her genetically engineer Super-Pig from a ruthless multinational corporation, both Okja is a criticism of hearty adventure and capitalism. It is a rare film that can make you laugh, cry and question the morality of the food industry within a two -hour interval.
And, of course, the parasite (2019) is the Film that shed the 2020 Oscar, which made history as the first non-English language film to win the best pictures. A dark comedy of class struggle yet annoying the annoying story, the parasite blurred the lines between the styles by the master form, which begins as a bizarre social satire before spiral some more frightening. The film’s remarks on wealth inequality and social hierarchy hit a raga worldwide, proving that the great story transferred language and culture.
https://www.youtube.com/watch?v=wg_ql89fwy4
And now we have Mickey 17, a film which is a letter of June-Ho for humanity and identity. Mickey 17 is through one through a political satire, but the film only scratches the surface of real -life issues that are being faced by many. The direction is accurate, and the film also shows Robert Pattinson’s boundary as an actor. But I will not say much about the film. Check it out for yourselves.
https://www.youtube.com/watch?v=osypgsz_0i4
A master before Oscar
Although the parasite finally gave him global recognition, Bong June-Ho had already completed his craft long ago. Their ability to basically mix styles, remove the expectations of the audience and influence the most exterior complex with deep human emotions separates them from the beginning. He is a director who understands the importance of pacing, depth of character and visual story tell, making each frame purposeful and striking.
Their ability to maintain his unique voice is really notable, regardless of budget or industry obstacles. Whether it is to work within the South Korean film industry or broke in Hollywood with snowily and Oakja, Bong never compromised on his own point of view. He remains unexpectedly bold, preparing the stories echoing with the audience around the world.
With Mickey 17, she once again proves why she is one of the most exciting filmmakers of our time. And for those who aspire to be like him, well, there is no better inspiration than a director who continues to define cinema with every project he has done.
Bong June-Ho does not make just movies. He creates experiences that live with you long after the credit role.
