Bong Joon-ho is one of those filmmakers where, while it’s
difficult to pin down the exact kind of films he makes in terms of genre, you
still know one of his works when you see it. Whether it’s the monster trappings
of The Host, the kid and their pet narrative of Okja, or the globalist frenzy
of Snowpiercer, his blend of poignant social commentary and modestly batshit
specifics make him one of the most interesting international directors I’ve
come across. And his latest continues with that trend, marking his first return
to all-Korean settings and cast since breaking onto the global stage with
Snowpiercer, the result of which is one of his best efforts yet.
