How Parasite, a non-English film, made history at Oscars 2020

Several minutes before the main, and more coveted, categories were announced at the 92nd Academy Awards 2020, it was time for the Best International Feature Film trophy. There was absolutely no doubt that Bong Joon Ho’s Parasite would whisk away this one. And it did.

But when this South Korean film walked away with four trophies of the six categories it was nominated in, including Best Director, Best Screenplay and Best Picture, it is perhaps necessary to take a moment and let it all sink in. This is Oscar history - the first time a non-English film won Best Picture.

Those who have watched Bong Joon Ho’s masterpiece will admit in a heartbeat that it deserved all that it got. Some might even argue that it should have won in all 6 categories or have been nominated for more. But the question - did Parasite deserve it - needs a closer look. And more importantly, an unbiased and impartial one.

The parasite is essentially the story of two families of four - the Kims and the Parks - belonging to opposite ends of the socio-economic spectrum. The Kims scavenge and make do with whatever they can grab; the Parks, are affluence personified. The Kims’ semi-basement apartment floods after a torrential downpour in one part of the city. On the other, the Parks import 100 percent waterproof tents from the US for their little son, for recreation.

But, their exceedingly different worlds collide, intertwine, and entangle. Bong Joon Ho paints a perfect picture of imperfection with the poor Kim family and presents its foil in the Parks. There’s not a speck of dirt on the floor at the Park residence, while the Kims have a permanent dirt line under their nails. If this kind of genius attention to detail doesn’t deserve an Oscar, we don’t know what does.

When the Kims land jobs with the Parks, the film reaches its highest point of irony and makes you question, who are the parasite here? The obvious answer would be, the poor family who’re using the rich and affluent Parks as the host. There are scenes that literally point you towards this obvious answer when the family of four are raiding the fridge and the bar at their employer’s house in their absence and make it a night. And then there’s the realization of how the rich, in their entitlement and oblivion, take advantage of the poor.

Parasite, even though a reflection of the South Korean society, can easily be interchanged in an Indian context if you were only to imagine a Dharavi hope against the bungalows of Altamount Road. In that, Parasite appeals to and identifies with the rich and poor class divide of absolutely any country in the world. If that successful transcendence doesn’t deserve an Oscar, we don’t know what does.

In a particular scene, when the Kims find their home flooded, the daughter surrendering to the fact that she cannot do anything to make things better crouches atop flooding (picture bubbling) commode and lights a cigarette. The calm on her face is haunting. On the flip side, when the mother in the Park family finds out that her son might have a growth disorder, even with all the money at her disposal, she has a shadow of fear eclipsing her face. If this kind of realistic portrayal of emotion doesn’t deserve an Oscar, we don’t know what does.

Yes, Oscars 2020 made history today. A South Korean film won Best Picture and floored us. And yes, the film deserved all that it got. Congratulations Bong Joon Ho and team. And welcome back the Academy Awards. You did well.