The awards season success of Parasite was not only a triumph for South Korea and foreign cinema at large — it was also a kind of unburdening for Asian Americans
's sweep of the Oscars last night for best original screenplay, best international feature film, best director and — finally and most improbably — best picture offered up a smorgasbord of joys. As a longtime Bong Joon Ho champion, I was thrilled to see one of cinema's finest and most unpredictable filmmakers recognized at the peak of his career, and on such a global stage.
It can be tricky, if not impossible, for many Asian Americans to fully identify with the country or countries of their ethnic origin. The peculiarities of Asian America mean constantly proving our Americanness, our non-foreignness, our belonging. "Where are you from?" is a question that haunts Asian Americans, which is why second- and third-generation immigrants may feel the need to play up our rights to this country.
That can mean playing down other parts of ourselves, whether by choice or by acculturation. I don't speak Korean most of the time, because most of the people I spend my time with don't know the language. I never proposed going out to eat Korean food with my non-Korean friends until my mid-20s, when I discovered that KBBQ was the thing to do in L.A. Watching be embraced by so many people has been an unburdening, a de-otherization I didn't know I needed.
, podcasts and TV appearances — how technically brilliant Bong's signature tonal hairpins are, where scenes suddenly whiplash from, say, slapstick comedy to Greek tragedy to ironic satire.
Bong's filmography, which encompasses both urban Seoul and the more suburban and agricultural provinces, also feels more like the ordinary Korea I know, even with the sci-fi monsters and grisly murders, than the glossy futurism projected by K-pop.
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