Movies

As the editor of the Culture department at The New York Times, Gilbert Cruz relies on critics, reporters and editors in every field of the arts for their expertise. In a new series, we’re bringing his questions — and our writers’ answers — to you. First up: his brief exchange with the co-chief film critic Manohla Dargis following the big wins for “Parasite” at the Oscars.Gilbert asks: Manohla, I’ve seen “Parasite” and several other Bong Joon Ho movies. But I want to dig deeper into South Korean cinema. A little help?Manohla answers: Where to begin?!South Korean cinema has rocketed to international prominence over the past few decades, as have some of its greatest filmmakers, including Bong. If you loved “Parasite” but haven’t seen any of his previous six features, I envy you — you have hours of pleasure awaiting you. And while I’m not partial to his first feature, the satire “Barking Dogs Never Bite,” everything that this sui generis filmmaker has made since is a must-see, from his unsettling monster movie “The Host” to the equally unnerving “Mother,” a tale of monstrous motherhood.Film festivals can be a terrific way to check out the latest in new South Korean cinema, especially given that not everything hits streaming (in English). If you’re interested in seeing work from women, sometimes your local festival, museum or cultural center might be your best bet, simply because those movies may not be otherwise available. Among the titles from women making the festival rounds is “The House of Us”; in the March “Sight and Sound,” Bong singled out its director, Yoon Ga-eun, as a filmmaker to watch. (Bong also gave a shout out to Kim Ki-young, whose feverish 1960 “The Housemaid” is essential viewing.)(Looking for help figuring out what to watch on Netflix, Hulu and other streaming services? Sign up for our twice weekly Watching newsletter.)As with any robust national cinema, there is a wide range of work for every taste and temperament, mood and occasion. There are horror freakouts, action adventures, chin-stroking dramas, goofball comedies, tear-soaked melodramas, rarefied art films and down-and-dirty exploitation flicks. The veteran auteur Im Kwon-taek has made more than 100 movies and deserves a deep dive. On the other end of the cine-spectrum, I recommend Yeon Sang-ho’s “Train to Busan,” a pulse-pounder that focuses on an inattentive businessman and his young daughter who become trapped on a train of fast-moving chomping zombies. It’s a tough, surprisingly emotional ride.Given the sheer bounty of South Korean cinema, I can only point to a selection of favorite artists, among them the brilliant Lee Chang-dong, who deserves a far larger audience in the United States. He’s best known here for his unsettling, shrewdly class-conscious drama “Burning,” which centers on an uneasy triangle — featuring a revelatory turn from the American actor Steven Yeun — that ends in catastrophe. Two other essential Lee movies to check out are “Poetry,” about a woman who comes to realize that her grandson has committed a ghastly crime, and “Secret Sunshine,” about a mother who turns — briefly, disastrously — to religion after a personal crisis.The prolific director Hong Sang-soo is another mainstay on the festival scene, though his movies often secure limited theatrical distribution in the United States. His narratively supple and inventive films chart the coordinates of desire among men and women who share and overshare, often during alcohol-soaked conversations. Few directors do so much with so ostensibly little, but, at Hong’s best, worlds of feeling are revealed in scenes of people facing one another — and themselves — across a table littered with soju bottles. “The Power of Kangwon Province,” “Virgin Stripped Bare by Her Bachelors,” “Turning Gate,” “Woman on the Beach,” “The Day He Arrives,” “The Day After,” “Hotel by the River” — there’s a lot to choose from, so get watching.Plus! One of my favorite movies of the past decade is Park Chan-wook’s “The Handmaiden,” a wild, often very funny and touching erotic thriller. Kim Ki-duk isn’t always my cup of cruelty, but I like his self-portrait “Arirang,” which he made in the wake of a near-fatal accident on one of his shoots. Na Hong-jin’s first feature, “The Chaser,” is a pitch-black action movie about a cop-turned-pimp hunting down a serial killer and features, as its title suggests, a lot of cat-and-mouse scrambling. His most recent release, “The Wailing,” is an unnerving, sprawling horror movie about demonic possession in a small town; it’s good, but I prefer “The Yellow Sea,” a blood-soaked tour de force of kinetic action and choreographed mayhem topped with acid politics.Gilbert: This is wonderful! But, really, I think I only have time for one movie at the moment. Manohla: Hmm. Well, start either start with “The Host” (if you’re in the mood for monsters) or with “Burning” (monstrous humanity) — you can’t go wrong either way. Then again, I do love “The Handmaiden,” “The Power of Kangwon Province” and …. More

The documentary “Viral: Anti-Semitism in Four Mutations” begins with a voice-over, as the television star Julianna Margulies (who is Jewish), explains that anti-Semitism infects like a virus and spreads globally in a constant search for a new host. It’s a rich metaphor, particularly given that images of infestation have long been used as weapons against Jewish communities. But the film never explicitly places its central image within that history, and this lack of analysis continues to frustrate even when the film hits on resonant ideas.The director, Andrew Goldberg, breaks up his study into four sections, each focusing on attacks from a different quarter. Goldberg identifies these sources as the far right in the United States; the far left in Britain; anti-Semitic governments in Hungary; and Islamic extremists in France.[embedded content]The film is a journalistic undertaking, with appearances by academics, politicians, writers and members of Jewish communities who each comment on current affairs. Survivors of violence against Jews describe the loss of loved ones; anti-Semitic political candidates defend their racist worldviews. These passages are compelling as qualitative research, using individual stories as a way to show the causes and effects of racism.But the film’s journalistic ambitions suffer from a lack of historical depth, with complicated subjects like the Israelis and Palestinians given analytical short shrift. Clips from political rallies are played out of context, revolutionary language is translated without its figurative meaning. Even recent events get little more than a gloss, as when Goldberg chooses to include politicians like Tony Blair and Bill Clinton as neutral talking heads, without accompanying their appearances with commentary on their records or motivations.The trouble with this skimmed approach is that by sidelining historical analysis, the film denies its audience the best defense against distortion, a rational necessity when interpreting a conversation that often seems to happen in code.Viral: Anti-Semitism in Four MutationsNot rated. Running time: 1 hour 23 minutes. More