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Okja. Netflix. The three syllables Bong Joon- ho (known in his native South Korea as Joon- ho Bong) evoke a particular kind of thrill in a particular kind of film fan. Of the great directors currently working, he may be the most playful, the most unpredictable, and the most stylistically omnivorous. His movies resemble each other only in their originality.
- Bong Joon Ho's 'Okja' follows a young girl who tries to keep a powerful corporation from kidnapping her animal best friend.
- · Bong Joon-ho debuts his latest, Okja, in competition at the 2017 Cannes Film Festival. Find out what the critics are saying here.
His filmography so far includes (but is not limited to) a kaiju- style monster movie that’s also an environmentalist comedy (The Host), a psychological murder mystery built around an intense mother- son relationship (Mother), a based- on- a- graphic- novel political allegory set in a dystopic sci- fi future (Snowpiercer), and now, Okja, an animal rights–themed thriller that’s also a comic fable about corporate greed and, perhaps most importantly, a love story between a girl and her really big pig. Dana Stevens. Dana Stevens is Slate’s movie critic. Well, pig is a tad misleading. The genetically modified, lab- bred Okja is a creature about the size of a hippopotamus. She’s more hippolike than porcine in other ways, too: Her skin is gray and leathery rather than pink and smooth, and her perpetually snuffling snout lacks that familiar flat oval shape. As rendered in a mixture of puppetry and digital animation, she’s refreshingly uncute by saucer- eyed Disney standards. But Okja’s long ears do flop like a cocker spaniel’s, and the devotion she displays to her beloved 1.
Mija (Ahn Seo- hyun) is similarly canine. Since being created by the shady agrochemical company Mirando, Okja has spent the first 1. Mija and her grandfather on a remote South Korean farm. But despite their deep bond, Okja and Mija are fated—and contractually bound—to be separated: The girl and her grandfather are only Okja’s foster family, hired by Mirando to raise the valuable animal in photogenic, wholesome surroundings until she and her GMO siblings could be launched on the world food market. Showtime Full Darkman Online Free there. Now that the much- hyped superpigs are fully grown, it’s time to introduce them first to the public and then to the slaughterhouse. When Mija learns that her lifelong pet is in danger, she sets out to rescue Okja, a quest that will take her to Seoul and later to New York, where an elaborate “pig beauty contest” and product launch is being planned by the brittle, jargon- spouting CEO Lucy Mirando (Tilda Swinton, who also plays Lucy’s controlling twin sister).
One of Okja’s great charms lies in its director’s ability to vary tone, pacing, and style between scenes without losing the viewer’s patience and sympathy. Mija and her grandfather’s domestic life is introduced in a series of gently comic scenes that take up nearly the entire first half- hour. Yet when the gears shift abruptly for a wild pig chase through a busy Seoul mall, our attention never wavers; we’re ready to dive right in to what has all of a sudden become an action movie.
Cannes Film Review: 'Okja' Reviewed at Cannes Film Festival (competing), May 19, 2017. Running time: 118 MIN. Production: A Netflix Original Film release of a Plan B. · Anyone who’s seen Okja has certainly heard Jake Gyllenhaal’s laugh. You might have wanted earplugs during some of his higher-decibel line deliveries.
Soon Okja will veer into other, equally unforeseeable zones, all of which seem to make sense once you get there. Eventually, Mija—who speaks no English and has never been to the big city, but who’s smart, strong, and unbelievably stubborn—crosses paths with the (real- life) animal rights group the Animal Liberation Front, which has devised a plan to infiltrate the experimental labs at Mirando and expose the company’s abusive practices.
The ALF’s harm- no- living- thing credo means everything to the group’s leader, Jay (Paul Dano), a true believer whose extreme gentleness hints at a skillfully applied tincture of menace. Jay’s Korean American translator and right- hand man K (Steven Yeun) is caught in a moral dilemma: Should he obey the girl’s wish to be sent back home with her pet, or, as the only one present who understands what she’s saying, should he find a way to enlist the two of them in the liberatory scheme even against Mija’s will, for the greater good of superpigs everywhere? There are broad performances, there are performances said to be “as broad as a barn,” and then there’s Jake Gyllenhaal’s performance in Okja.
Okja is generous enough to spare even a tertiary character like K a real moral arc, one that ends in a joke I won’t spoil but that could have served as the movie’s epigraph. Bong bounces freely between Mija’s rural home,wherean ancient way of life is just beginning to be changed by digital technology, and the selfie stick–bearing, endlessly image- conscious realm of global consumerism. The cinematography by Midnight in Paris wizard Darius Khondji also bounces, from cold corporate whites to rich forest greens to gaudy carnival colors. The latter appear most prominently in the wardrobe of Dr. Johnny Wilcox (Jake Gyllenhaal), a TV huckster who carries out the evil experiments meant to help turn Okja and her kind into the most cost- efficient meat products on Earth. Join Slate’s Sam Adams and leading culture critics as they watch and review some of the best conspiracy thrillers of the past decades, from The Manchurian Candidate to Get Out. There are likely to be dinner- length post- movie arguments about Jake Gyllenhaal’s character, though hopefully not at tables where you are seated.
There are broad performances, there are performances said to be “as broad as a barn,” and then there’s Gyllenhaal’s performance in Okja, which seems to be taking place in a separate viewing modality from the other actors’, as if projected on the side of an extraordinarily large barn possibly belonging to Jerry Lewis. Like the bottom- feeding tabloid news photographer Gyllenhaal lost 3. Nightcrawler, his squeaky, grating character here feels false to me; it’s a performance so mannered and manic it doesn’t communicate anything outside itself.
I’ve already heard critics protest that this outsize quality is precisely what indicates Gyllenhaal’s growth as a performer and that bold, sometimes crude brushstrokes—including, when necessary, slapstick falls and jokes about pig poop—are a part of Bong Joon- ho’s inimitable charm. Watch Tears Of The Sun Online. I will concede the second point, but there are plenty of cast members in Okja who give big, stylized performances—Swinton as the scheming Mirando twins, Giancarlo Esposito as their unreadable consigliere, Dano as a comically soft- spoken revolutionary—and none of those actors made me squirm instinctively toward the nearest exit the moment they appeared onscreen. Whether the extreme physicality of Gyllenhaal’s approach was his own choice or the preference of his director, it’s a distraction and a drain on the audience’s energy, one of the few weak links in an otherwise near- irresistible movie. Though this film is about a girl in her early teens going to heroic lengths to save her pet, and though it weaves in moments of hope, love, and idealism along with sardonic social commentary, Okja isn’t a film for young children. There’s a fairy- tale quality to its elemental child- rescues- pet story, true, but there are also graphic scenes in labs and on slaughterhouse floors, and a great deal of the humor—some of it topical, nearly all of it pitch- dark—will go over little kids’ heads. Okja is far from a brief on behalf of vegetarianism—Mija’s favorite food, it’s noted in one early scene, is chicken stew—but it leaves you with a vision of the capitalist food chain that’s less than morally appetizing.
As Bong’s ample perspective makes clear, that food chain isn’t just literal but metaphorical. Whether or not Mija and the ALF succeed in their mission to bug the Mirando labs and rescue Okja, the problems they’re struggling to address—income inequality, environmental pillage, and corporate malfeasance—will outlast their individual story. If you see Okja, and I hope you do, stay for the final credits. It’s not often that a stinger scene pops up at the end of a movie, not to pre- sell the inevitable sequel, but to leave you with something to think, wonder, and worry about.
Bong Joon- ho film debuts at Cannes. Bong Joon- ho has phoned home with his latest film, which, in this case, sees him taking up residence in the good graces of international movie critics. With a Netflix premiere slated for June 2.
Okja might not be headed for the Oscar race (the platform’s prior awards hopeful, Beasts of No Nation, failed to catch on with Academy voters in 2. Korean auteur’s new movie is drawing comparisons to E. T. as tensions over the industry’s gradual embracing of streaming- based platforms take center stage at the 2. Cannes Film Festival. Following its first press screening Friday morning on the Croisette (which reportedly saw the Grand Lumiére auditorium projecting the film’s initial moments in the incorrect aspect ratio), critics have singled out the filmmaker’s singular touch on what could have been a rote rehash of the steady “meat- is- murder” social mentality.“The movie’s underlying premise — child bonds with otherworldly beast and defends it from cruel adults — easily calls to mind E. T. or Pete’s Dragon, but Bong bends the formula into his own agenda,” Eric Kohn writes for Indie. Wire. “Okja fires in a lot of directions, but finds its way to a strong payoff; despite an underwhelming confrontation in its final moments, it arrives at a thoughtful epilogue that brings the drama full circle — and places it within the consistent fixation of Bong’s filmography: Life goes on, but the specter of bigger threats to Okja’s kind remain, far beyond the reaches of a single courageous girl.
From his early comic- suspense films to his later spectacles, Bong’s movies deny the easy satisfaction of an overarching victory, instead suggesting that you can’t save a world that may have already doomed itself.”Variety‘s Peter Debruge calls the film’s central relationship between the titular beast and a young girl, Mija (An Seo Hyun), “charming,” and again likens the film to Disney’s 2. Pete’s Dragon remake and Hayao Miyazaki’s classic My Neighbor Totoro “(right down to the way Mija naps on the giant beast’s belly), featuring great visual effects work on the creature, designed to look adorably dog- like.” He continues: “Certainly, this is a far different kind of creature feature from Bong’s The Host, although audiences can’t help but recognize the same mix of over- the- top flamboyance and reductive philosophy.”Okja, about a greedy corporation (fronted by Tilda Swinton) who seeks to use the titular beast, which has befriended a young girl, as a means to facilitate a new line of mass- marketed meat (a whacky yet “deeply humane” concept, according to Vulture‘s Emily Yoshida), screened for journalists almost 1. Snowpiercer) and taut, crime- fueled dramas (Mother) — launched The Host (also about a fantastical creature, albeit one of the bloodthirsty, menacing breed) at Cannes on May 2. Whereas The Host went on to amass a worldwide following (including a massive $6.
South Korea, becoming the country’s fourth highest- earning movie in history), the auteur’s latest project, however, enters the fray as theatrical distributors and film professionals (and even local exhibitor guilds) clash with streaming giants like Amazon and Netflix over the latter’s new take on the traditional release model. Okja and Noah Baumbach’s The Meyerowitz Stories are Netflix’s first films to have been accepted into Cannes’ main competition slate, which seemingly drew the ire of 2. Pedro Almodovar, who denounced Netflix at the top of the festival earlier this week, further noting that he doesn’t “perceive the Palme d’Or [should be] given to a film that is then not seen on the big screen.” Fellow jury member Will Smith (who is starring in an upcoming Netflix release, Bright) offered a different take: ““I have a 1. They go to the movies twice a week, and they watch Netflix… There’s very little cross between going to the cinema and watching what they watch on Netflix.”“How can this movie’s producer — Netflix — ever be content with just letting it go on the small screen?
Apart from everything else, the digital effects are spectacular and the visual images beautiful. It’s a terrible waste to shrink them to an i. Pad,” Peter Bradshaw says in his five- star review for The Guardian. It’s] a lovely family action- adventure about a girl and the giant hippoesque pig, named Okja, that she has come to love like family. This exciting, charming, sweet- natured movie gives its audience heartmeltingly tender moments showing us their magical life together in the Korean mountains. Then it whooshes us to New York City and a world of cynicism, menace and danger.
This movie just rattles along with glorious storytelling gusto in the spirit of Roald Dahl, E. T. creator Melissa Mathison and Dodie Smith, author of 1. Dalmatians.”Other critics, like The Hollywood Reporter‘s Stephen Dalton, were less impressed with the film.“An ungainly mix of benign monster movie, action comedy and coming- of- age fable, Okja marks South Korean director Bong Joon- ho’s contentious debut in the official Cannes competition selection,” he notes. This effects- driven ensemble piece is a tonally uneven affair, cluttered with tone- deaf dialogue and crudely sketched characters that recall Luc Besson at his most obtuse. But such minor flaws did not prevent Bong’s previous adventures in socially conscious sci- fi fantasy, notably The Host and Snowpiercer, from earning critical raves and healthy box office numbers.”Regardless of how you choose to consume it, Okja is, by most critical accounts, worth the investment. Ahead of the film’s June 2. Netflix premiere date, read on for more Okja review excerpts below.
Eric Kohn (Indie. Wire)“As with Snowpiercer, this is a story almost too eager to fire in multiple directions, sometimes with messy results, veering from broad satire to softer exchanges with little regard for finding balance between the two. The scheming ensemble behind the scenes at the Miranda Corporation — which also includes a quietly menacing Giancarlo Esposito and an underutilized Shirley Henderson — never come across as anything more than maniacal cartoons, but the bond between Mija and Okja is genuine, and the chase scenes are bracing to watch. Zipping along to a vibrant soundtrack, Bong crafts lively, action- packed moments that find the hulkish Okja careening through public spaces while people scramble around her. This includes one of the most striking moments in Bong’s entire career — a slow- mo battle set to John Denver’s ‘You Fill Up My Senses,’ which finds the ALF forming a wall of umbrellas to defend a cornered Okja while Mija cowers nearby.”Peter Debruge (Variety)“Whether genetically modified or not, most people don’t want to know where their food comes from, but Bong insists, creating a sequence that’s more frightening than anything in The Host. If Upton Sinclair’s The Jungle was able to galvanize the public into insisting upon reform in the meat- packing industry, perhaps “Okja” could bring about change as well — though it’s important to remember that Sinclair was more concerned with the working conditions in such factories than the ethics of what we eat.”Peter Bradshaw (The Guardian)“There is something inspired in the way the director handles the contrast between the bucolic paradise in which Mija and Okja have grown up together and the alien jungle of the big city. The narrative dynamic is comparable to King Kong in its way; but less adult and less obviously knowing. The scenes at the beginning where Mija loses her footing and Okja instinctively improvises a rescue are tremendously conceived.
And the digital creation of Okja is itself brought off with terrific skill. The pure energy and likability of this film make it such a pleasure.”Stephen Dalton (The Hollywood Reporter)“Scripted by Bong, then adapted into English by British author and screenwriter Jon Ronson (Frank, The Men Who Stare at Goats), Okja is peppered with lost- in- translation lines and clunky tonal shifts.