Highbrow Magazine - parasite https://www.highbrowmagazine.com/parasite en With the Best Picture Nominations, the Oscars Unleashed the Monsters’ Journey https://www.highbrowmagazine.com/10396-best-picture-nominations-oscars-unleashed-monsters-journey <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Mon, 02/10/2020 - 07:14</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/2jokerfilm_0.jpg?itok=1mB6kfwb"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/2jokerfilm_0.jpg?itok=1mB6kfwb" width="480" height="270" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><strong>Opinion: </strong></p> <p> </p> <p>As a small child, I had a recurring nightmare that I was left behind in a parking lot as my parents and siblings walked away from me. But the nightmare always ended well, in that it ended, period. No nightmare we have while sleeping ever lasts longer than the time it takes us to wake up.</p> <p>We have living nightmares as well. We can look to the meat-grinder that killed millions of young men in World War I <strong>(1917)</strong>, the many who perished under Nazi Germany <strong>(Jojo Rabbit)</strong>, or any number of more personal murders throughout our history <strong>(Once Upon a Time in Hollywood) </strong>to remind us of this. And yet, we often can point to a specific event or moment in time to demonstrate how such nightmares were no more – we collectively wake ourselves up, so to speak.</p> <p>In examining the daunting reality we face every day, we consider the journey of the monster who perpetuates it. And when we consider the journey of this monster from beginning to end, we see how the nightmare unfolds.</p> <p>It’s common for us to see someone like a psychopath <strong>(Jojo Rabbit)</strong> or a sociopath <strong>(The Irishman) </strong>and trace their history back to a point or a series of points of trauma. Without this confluence of events, they may not have turned out to be as destructive as they are. They experience hardship at an early, tender time, and thus their worldview is tainted from then on.</p> <p>We see their harmless beginning, wherein the monster finds themselves fantasizing, perhaps “daydreaming” <strong>(Parasite)</strong> of a different reality than the one they face, having their expectations dashed <strong>(Marriage Story)</strong>, or experiencing the disappointment of a lost opportunity <strong>(Joker)</strong>.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1oscarsmonster.jpg" style="height:300px; width:600px" /></p> <p> </p> <p>We then see how they attempt to reconcile this gap in their world, be it using others for their own gain <strong>(Ford v. Ferrari) </strong>or destroying the things we love most <strong>(Little Women)</strong>. The monster then justifies these actions through their sense of lack <strong>(Parasite) </strong>or to protect those they love the most <strong>(The Irishman)</strong>.</p> <p>The monster’s journey enters a surprisingly menacing phase when their actions become normalized <strong>(1917)</strong>. They fit their actions into the standard way of things just enough to be perceived as someone merely misguided in their choices <strong>(Joker)</strong>, and when they’re rewarded with success, they reinforce their worldview moving forward <strong>(Ford v. Ferrari)</strong>. And thus, they tip into a reality from which there’s no coming back.</p> <p>To perpetuate this worldview, they begin to manipulate the situation to suit their agenda <strong>(The Irishman)</strong>, and they escalate their impact to the point of finally catching the attention of those around them and being labeled as the fiend they are <strong>(Joker)</strong>.</p> <p>And here is where the monster’s journey may diverge, as many live out their lives remaining in wholehearted devotion to the ideals that led to their destructive tendencies <strong>(Once Upon a Time in Hollywood)</strong>. Still, some monsters come to realize that they are the catalyst of the nightmare that consumes their life, they “feel like (they’re) in a dream,” <strong>(Marriage Story)</strong> and seek repentance for their past <strong>(Little Women)</strong>. But because of the nature of their actions, they often pay for it in incarceration <strong>(Joker)</strong> or perpetual isolation <strong>(The Irishman)</strong>.</p> <p>The impact of the monster’s journey reminds us of what’s at stake, be it the next generation of children who may continue the destructive cycle if they’re neglected <strong>(1917)</strong>, or choices that lead to an untimely demise <strong>(Parasite)</strong>. Without vigilance in fighting this monster, we risk enticing the darkest natures of others and creating the nightmare we so greatly fear.</p> <p>But how do we find that vigilance? How can we respond in a way other than pretending that the monstrosity didn’t take place <strong>(Once Upon a Time in Hollywood)</strong>?</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3oscarsmonster.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>We see this darker tendency turn around in them when we help them avoid their decline in isolation <strong>(Little Women)</strong>. We have the conversations that will help them to feel connected to another and thus no longer in a spiral of their own suffering <strong>(Marriage Story)</strong>.</p> <p>We must show them how to lean into the differences they see in others not from a place of hate but rather curiosity <strong>(Jojo Rabbit)</strong>.</p> <p>We must help them to move forward, no matter the setbacks they’ve faced.</p> <p>As we study the monster’s journey, we’re shown how the nightmares we suffer through at their hands can come from a surprising place. Eventually, one of my family members did leave me, but not when I was a small child in a parking lot. My nightmare began only months ago when I lost my father to a medical error. I began seeing the word through a darker lens and felt more victimized by the little slights and humiliation that come with everyday life. But as I realized the nightmare I was about to enter, I chose connection over isolation, curiosity over hate.</p> <p>I came to understand the main point that prevented the nightmare before it started.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4oscarsmonster.jpg" style="height:400px; width:600px" /></p> <p> </p> <p>As we move forward in 2020, we are presented with one of the most destructive, polarizing realities we’ve faced in many decades. We are presented with political and economic choices that may determine whether we live out our lives in a nightmare or not.</p> <p>The Academy, through its nine best picture Oscar nominations, was trying to tell us that the nightmare is pending, and that it has a root cause.</p> <p>They may be trying to tell us that the cause is the monster that lurks in each of us.</p> <p> </p> <p><strong>Author Bio: </strong></p> <p><strong><em>Neil Gordon </em></strong><strong><em>is a communications expert focused on helping his clients attract a following using as compelling of a message as possible. His style has been described as “persuasion with heart,” and he has helped his clients double their speaking fees and secure appearances on TV shows like <em>Ellen </em>and <em>Dr. Oz</em>. Gordon formerly worked as an editor at </em></strong><strong>Penguin Random House<em> with </em>New York Times <em>bestselling authors and has been featured on </em>NBC Palm Springs<em>, </em>Forbes, Fortune<em>, and </em>Inc. Magazine.</strong></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/2020-oscars" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">2020 oscars</a></div><div class="field-item odd" rel="dc:subject"><a href="/academy-awards" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Academy Awards</a></div><div class="field-item even" rel="dc:subject"><a href="/parasite" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">parasite</a></div><div class="field-item odd" rel="dc:subject"><a href="/jojo-rabbit" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jojo rabbit</a></div><div class="field-item even" rel="dc:subject"><a href="/once-upon-time-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">once upon a time in hollywood</a></div><div class="field-item odd" rel="dc:subject"><a href="/1917" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">1917</a></div><div class="field-item even" rel="dc:subject"><a href="/joker-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">joker</a></div><div class="field-item odd" rel="dc:subject"><a href="/best-picture-oscar" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">best picture oscar</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Neil Gordon</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Mon, 10 Feb 2020 12:14:10 +0000 tara 9344 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10396-best-picture-nominations-oscars-unleashed-monsters-journey#comments The 2020 Academy Awards: And the Oscar Goes To… https://www.highbrowmagazine.com/10392-academy-awards-and-oscar-goes <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 02/06/2020 - 22:03</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1oscars2020.jpg?itok=ZxFbt6kH"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1oscars2020.jpg?itok=ZxFbt6kH" width="480" height="310" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><strong><em>Highbrow Magazine</em> contributing writer Christopher Karr, a film buff and critic who has spent considerable time watching (and re-watching) this year’s Oscars contenders, offers his Should Win/Will Win list:</strong></p> <p> </p> <p>--Should Win*</p> <p><strong>--Will Win</strong></p> <p> </p> <p><strong>Best Picture</strong></p> <p>Ford v Ferrari</p> <p>The Irishman</p> <p>Jojo Rabbit</p> <p>Joker*</p> <p>Little Women</p> <p>Marriage Story</p> <p>1917</p> <p><strong>Once Upon a Time in Hollywood</strong></p> <p>Parasite</p> <p> </p> <p><em>Parasite</em> is the best movie of the year, and <em>Joker</em> is a close second. Still, it’s hard to imagine the Academy resisting Tarantino’s exquisite plunge into 1969 Hollywood. The movie is catnip for voters. Plus, <em>Parasite</em> is destined to get its due in other categories. </p> <p> </p> <p><strong>Best Actor</strong></p> <p>Antonio Banderas, Pain and Glory</p> <p>Leonardo DiCaprio, Once Upon a Time in Hollywood</p> <p>Adam Driver, Marriage Story</p> <p><strong>Joaquin Phoenix, Joker*</strong></p> <p>Jonathan Pryce, The Two Popes</p> <p> </p> <p>In any other year, my money would be on Leonardo DiCaprio. But Joaquin Phoenix’s unfathomable performance is instantly iconic. No other actor — living or dead — would be able to pull off anything close to his completely idiosyncratic interpretation of a classic character. </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2oscars2020.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><strong>Best Actress</strong></p> <p>Cynthia Erivo, Harriet</p> <p>Scarlett Johansson, Marriage Story</p> <p>Saoirse Ronan, Little Women</p> <p>Charlize Theron, Bombshell</p> <p><strong>Renee Zellweger, Judy*</strong></p> <p> </p> <p>For everyone in this category except Renee Zellweger, the nomination is the award. (I think I’m the only one who wasn’t convinced by Scarlett Johansson’s strained, unfocused effort in <em>Marriage Story</em>.) Even though <em>Judy</em> is a mediocre film, Zellweger’s total possession by the ghost of Judy Garland is chill-inducing. I get goosebumps just thinking about those song numbers. </p> <p> </p> <p><strong>Best Supporting Actor</strong></p> <p>Tom Hanks, A Beautiful Day in the Neighborhood</p> <p>Anthony Hopkins, The Two Popes</p> <p>Al Pacino, The Irishman</p> <p>Joe Pesci, The Irishman</p> <p><strong>Brad Pitt, Once Upon a Time in Hollywood*</strong></p> <p>Are the other farfetched “movie star” nods designed to ensure that Brad Pitt is a lock? No matter — Pitt gives the performance of his career as Cliff Booth. He so embodies the essence of cool that 50 years from now, filmgoers might say, “Who’s Brando?”</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4oscars2020.jpg" style="height:338px; width:600px" /></p> <p> </p> <p><strong>Best Supporting Actress</strong></p> <p>Kathy Bates, Richard Jewell</p> <p><strong>Laura Dern, Marriage Story*</strong></p> <p>Scarlett Johansson, Jojo Rabbit</p> <p>Florence Pugh, Little Women</p> <p>Margot Robbie, Bombshell</p> <p> </p> <p>Even though Kathy Bates is a living genius, I didn’t see <em>Richard Jewell</em>. (No one I know did.) Margot Robbie and Florence Pugh’s nominations are perplexing. Was this year starved for supporting female performances, or did the best ones get unfairly overlooked? Dern wins by default — she was the best part of <em>Marriage Story</em>.</p> <p> </p> <p><strong>Best Director</strong></p> <p>Martin Scorsese, The Irishman</p> <p>Todd Phillips, Joker</p> <p>Sam Mendes, 1917</p> <p>Quentin Tarantino, Once Upon a Time in Hollywood</p> <p><strong>Bong Joon Ho, Parasite*</strong></p> <p> </p> <p>It’s unfortunate for Todd Phillips that his monumental achievement with <em>Joker</em> — the best American film of the year — is rightfully overshadowed by the absolutely jaw-dropping work of Bong Joon Ho. <em>Parasite</em> is a masterpiece, and its director deserves his accolade. </p> <p> </p> <p><strong>Best Adapted Screenplay</strong></p> <p>The Irishman, Steven Zaillian</p> <p>Jojo Rabbit, Taika Waititi</p> <p><strong>Joker, Todd Phillips, Scott Silver*</strong></p> <p>Little Women, Greta Gerwig</p> <p>The Two Popes, Anthony McCarten</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5oscars.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>The screenplay for <em>Joker</em> is a masterclass in cinematic storytelling. (<a href="https://d2bu9v0mnky9ur.cloudfront.net/academy2019/screenplay/joker/joker_new_final.pdf" target="_blank">See for yourself</a>.) Every image in the final film aligns magnificently with the image painted into the text of the script. The <em>Joker</em> screenplay is essential reading for any aspiring or seasoned screenwriter. By comparison, the other nominated scripts are mini-disasters. </p> <p> </p> <p><strong>Best Original Screenplay</strong></p> <p>Knives Out, Rian Johnson</p> <p>Marriage Story, Noah Baumbach</p> <p>1917, Sam Mendes and Krysty Wilson-Cairns</p> <p><strong>Once Upon a Time in Hollywood, Quentin Tarantino</strong></p> <p>Parasite, Bong Joon-ho, Jin Won Han*</p> <p> </p> <p>The screenplay for <em>Parasite</em> is one of the greatest original scripts in recent memory. It has a dazzling, Shakespearean depth. Quentin Tarantino’s screenplay is flawed (especially that unacceptable ending, which flirts with canceling out the significance of everything that leads up to it), but the vision he expressed on the page merits recognition. </p> <p> </p> <p><strong>Best Cinematography</strong></p> <p>The Irishman, Rodrigo Prieto</p> <p>Joker, Lawrence Sher</p> <p>The Lighthouse, Jarin Blaschke</p> <p>1917, Roger Deakins</p> <p><strong>Once Upon a Time in Hollywood, Robert Richardson*</strong></p> <p> </p> <p>The thrilling accomplishment of Richardson’s retro cinematography cannot be understated. His technique and craft elevated the content of Tarantino’s vision in a way that leaves you overwhelmed. </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6oscars2020.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><strong>Best International Film</strong></p> <p>Corpus Christi, Jan Komasa</p> <p>Honeyland, Tamara Kotevska, Ljubo Stefanov</p> <p>Les Miserables, Ladj Ly</p> <p>Pain and Glory, Pedro Almodovar</p> <p><strong>Parasite, Bong Joon Ho*</strong></p> <p> </p> <p>There’s no contest here: <em>Parasite</em> deserves an Oscar for Best Foreign Film of the Decade. </p> <p> </p> <p><strong>Best Animated Film</strong></p> <p>How to Train Your Dragon: The Hidden World, Dean DeBlois</p> <p>I Lost My Body, Jeremy Clapin</p> <p>Klaus, Sergio Pablos</p> <p>Missing Link, Chris Butler</p> <p><strong>Toy Story 4, Josh Cooley*</strong></p> <p> </p> <p><em>Toy Story 4 </em>isn’t even the best entry in the series, but it’s better than the other nominees. </p> <p> </p> <p><strong>Author Bio:<br /> <br /> <em>Christopher Karr is a contributing writer at</em> Highbrow Magazine.</strong></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/academy-awards-2020" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">academy awards 2020</a></div><div class="field-item odd" rel="dc:subject"><a href="/oscars-25" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the oscars</a></div><div class="field-item even" rel="dc:subject"><a href="/parasite" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">parasite</a></div><div class="field-item odd" rel="dc:subject"><a href="/once-upon-time-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">once upon a time in hollywood</a></div><div class="field-item even" rel="dc:subject"><a href="/brand-pitt" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">brand pitt</a></div><div class="field-item odd" rel="dc:subject"><a href="/leonardo-dicaprio" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Leonardo DiCaprio</a></div><div class="field-item even" rel="dc:subject"><a href="/joaquin-phoenix" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Joaquin Phoenix</a></div><div class="field-item odd" rel="dc:subject"><a href="/joker-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">joker</a></div><div class="field-item even" rel="dc:subject"><a href="/todd-philipps" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">todd philipps</a></div><div class="field-item odd" rel="dc:subject"><a href="/martin-scorcese" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Martin Scorcese</a></div><div class="field-item even" rel="dc:subject"><a href="/irishman" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the irishman</a></div><div class="field-item odd" rel="dc:subject"><a href="/little-women" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">little women</a></div><div class="field-item even" rel="dc:subject"><a href="/noah-baumbach" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">noah baumbach</a></div><div class="field-item odd" rel="dc:subject"><a href="/laura-dern" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">laura dern</a></div><div class="field-item even" rel="dc:subject"><a href="/adam-driver" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">adam driver</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Christopher Karr</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 07 Feb 2020 03:03:20 +0000 tara 9338 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10392-academy-awards-and-oscar-goes#comments