A Beginner's Guide to: Alma Har'el
Just a quick scroll through her Instagram, you'll see countless red carpets and interviews promoting her new film, Honey Boy, plus various calls to action empowering female directors in support of her nonprofit company Free the Bid and its sister site, Free the Work. It's a wonder when this superwoman ever gets a minute of sleep.
In addition to her impressive directing reel, Har'el founded Free the Bid in 2016, a website-turned-movement that calls for a more transparent and equal representation of women in the commercial advertising/tv hiring process. Championing the phrase "Diversity = Creativity," Har'el has set out to change industry standards by ensuring Ad agencies and brands get (at least) one woman director's bid on every job (which, shockingly, was a revolutionary idea until recently). Free the Bid has since expanded to include Free the Work, a community database of underrepresented creators intended to help both artists and brands discover quality talent. Always a vocal advocate for women and a beacon of light for creators everywhere, Har'el debuted her narrative feature, Honey Boy, at the 2019 Sundance Film Festival (which has steadily remained in my top ten films of the year).
In celebration of this trailblazer, here are three works by Alma Har'el to check out before you watch Honey Boy, in theaters this Friday.
LoveTrue
A visually stunning blend of documentary and surreal dramatization, LoveTrue, executive produced by Shia LaBeouf, profiles three young adults facing personal heartache at various stages of their lives. A young stripper with low self-esteem believes no one will love her the way her boyfriend does, and therefore is afraid to fully be truthful about her work conditions. A single-dad surfer who was blindsided by a cheating scandal claims, "I don't really know what love is, I guess. I thought I did." A teen musician whose life is centered around her family's band questions her faith after her dad disrespected her mom, questioning, "I don't understand how Mommy can have faith in someone who's not faithful."
Showing the dark side of vulnerability and fully trusting someone with your heart, Alma knows how to tap into her subjects' innermost emotional faucet and turn it up to full blast. LoveTrue is a poignant exploration of emotions that suggests that maybe true love isn't all it's cracked up to me. Harsh, but realistic.
LoveTrue is available to stream on Netflix.
Sigur Rós | Fjögur Píanó
One of my favorite bands of all time is the Icelandic post-rock group, Sigur Rós. Known for their limitless creative expression and beautiful atmospheric soundscapes, they are my go-to artist for when I need to reconnect with myself. For the accompanying music videos for the release of their 2012 album, Valtari, Sigur Rós went the unconventional route by putting all of the creative control in the hands of various filmmakers. Their brief stated: "We never meant our music to come with a pre-programmed emotional response. We don’t want to tell anyone how to feel and what to take from it. With the films, we have literally no idea what the directors are going to come back with. None of them know what the others are doing, so hopefully it could be interesting."
Har'el took the track Fjögur Píanó and created a stunning experimental short film that stands as one of my favorite music videos to date. Her constant collaborator Shia LaBeouf partners with actress and dancer Denna Thomsen as they play a couple experiencing the emotional journey of a relationship through interpretive dance. Raw and uninhibited (including full-frontal nudity), the film is a delicate ballet of vulnerability, which Har'el describes as a "shifting relationship beautifully charted by the shifting of their bodies."
Fjögur Píanó is available to stream on Vimeo. The "Making Of" video is also available here.
Bombay Beach
2011's Bombay Beach is Alma Har'el's debut feature film and put her on the map of talents to watch. A breakout of the Tribeca Film Festival, the 86-minute experimental documentary profiles three people of various ages living in one of the poorest communities in southern California: Bombay Beach, located on the shores of the Salton Sea. There are few opportunities for personal or professional growth here as the residents of Bombay Beach, including a high school-aged NLF hopeful, an overly-medicated young boy and his family with a history of neglect, and a bigoted older man who illegally sells cigarettes, give audiences a glimpse into their very humble lives.
Har'el shows how unforgiving the desert can be as she combines fly on the wall filmmaking with interspersed choreographed and stylized vignettes. Songs by Bob Dylan and original songs by Beruit play to the film's sense of desperation while offering glimpses of hope and resilience. Bombay Beach is an eye-opening documentary that shines a nonjudgemental light on a group of misfits and is a perfect complement to the themes in Honey Boy.
Bombay Beach is available to rent on Amazon.
Byron Bowers: "I'm still human. I still feel sad. And I'm in a good movie."
I'm sitting in my office in Koreatown when my phone rings. Comedian/actor/multi-hyphenate Byron Bowers is on the other line, calling from a quiet location in a Beverly Hills hotel during the stacked press day for the highly anticipated Honey Boy. It's a beautiful sunny day, high seventies in early November, and, no joke, birds are chirping outside the window. I'd imagine this is the quintessential "made it moment" for any typical Hollywood actor, but there's something different about Bowers. He's not "typical." I came to discover through our 15-minute chat that Bowers, who has been described by LA Weekly as "A Comic Who's Got Big Ideas and Big Plans to Go Big Places," is an extremely humble and relatable man. He is grateful for the opportunity to do what he loves and sincerely wants to make a difference in every person's life who watches his films or his stand-up sets. As an entertainment journalist, Byron Bowers is a breath of fresh air.
In our exclusive interview, we talk about growing up with a schizophrenic father, working with director (and girlfriend) Alma Har'el, and the thing that makes him happy.
I absolutely loved this film. I saw it at Sundance earlier this year and it blew me away. There was a standing ovation and everyone in tears. It was just fantastic. What has this process been like for you, from Sundance up until now?
Oh, it's been a ride! That was my first time at Sundance and after the film, I remember taking a meeting with an agency (that I've now signed with), and they were blown away by it. I really didn't know what was going on, I'm like, 'Oh, y'all liked it. Oh, that's cool.'
It's just been a ride getting things together and getting projects off the ground. Closer to the release we're hitting other film festivals in Canada, New York, everybody's giving this film standing ovations and they're teary-eyed after the film. I'm like, man, this is a beautiful project right here. If I could do projects like this, I think I will be happy.
Yeah, absolutely. And I think everyone that watches this film takes away something different and unique to their personal life experience. I read that you grew up a schizophrenic father, paralleling Otis' upbringing. Did you see yourself in Otis?
I did. Once I read the script, I knew this story had to be told because it is an insight into somebody whose life isn't based in reality. I feel like a part of my life wasn't based in reality. Before I shot this film, I was questioning what was real or what happened in my life, and then to read a script where you have a kid who, as an actor, part of his life isn't real either and is the child of an addict himself, gave me empathy for who Shia was and let me see how similar we are.
I read this quote once that asked, 'Do you have to be sad to write a sad song and happy to write a happy song?' I found it interesting to think about as an artist, how your circumstances affect your art. Do you think your upbringing has impacted the artists that you are today?
I think it gave me a different outlook on life. And the thing is to celebrate your flaws. That's how I look at it now, celebrate your uniqueness. We all got a story, some good, some bad, but we all get to experience life.
But yeah, it shaped my point of view, and it allowed me to think differently. And I use that on stage. I understand there are different layers to my life; I'm a person, I'm black, I'm a child of an addict. I'm all these other things. Because my father lived in different dimensions, I'm allowed to travel amongst all those spiritual planes, so to speak. So yeah, it definitely affects me on different levels. Even the jokes that I do and the material I tell, I have a different point of view.
I was able to rewrite my part so that character is a part of me. So I will never let go of that person...
Read more: A Beginner's Guide to: Alma Har'el
Yeah, that's fascinating. And this is the perfect movie to express all of those emotions, especially with Alma Har'el [director] being who she is - this amazing badass woman. I'd imagine the set felt safe to work through those feelings. Can you describe the on-set experience and your relationship working with Alma?
Alma and I have been dating for four years. This experience was having to really listen to her and trust her with my art, which I've never had to do before. If I had a question about how things were, I learned to not question it. You don't tell the director what she should do, you know? We're not at home anymore, we're at work! And I'm like, Oh, snap I had to learn that on the fly.
Laughter
She gave the actors the freedom to really be the character. It's not about the lines or hitting the mark. It's just 'be you walking around as this person.' So that allowed the movie to be very authentic.
Is this a character that you're going to miss?
I'm fortunate because I was able to rewrite my part so that character is a part of me. So I will never let go of that person, that's myself. It's just a marker in time of what I was going through, like my cousin who is here with me today, he was in prison when we shot the film. I had guilt for living the life I lived when my cousin and I had two addicts as parents. And our lives are now so different. Those are the things that will always be the place markers in my life.
Wow, that makes this film even more powerful.
Yeah, I was given the freedom to put not my story, but my essence into the character. It suits me because I live in California, I'm originally from Georgia, and California feels like rehab or jail at times because it's so isolating and lonely.
When I'm doing a set, I'm not only making you laugh anymore, you're going to feel a range of emotions a Byron Bowers experience.
Absolutely. I'm born and raised in California and still struggle with the LA pressure and isolation.
Yeah.
As an artist, a comedian, and an actor, how do you best feel like you express yourself? Is it getting lost in a role or being on stage and telling your life story?
I think telling my story is the most cathartic thing. I went from joke-telling to storytelling, and I see how it affects people differently. When I'm doing a set, I'm not only making you laugh anymore, you're going to feel a range of emotions a Byron Bowers experience. This film has shown me that I can have other outlets to reach people and tell stories.
Aside from your career, which is incredible, what brings you joy?
It's not the "career" part, it's more of you all following me on a journey. I could be vulnerable and show you that it's not a career, like, I don't know how some of these things are happening. All I have is what I have and look where it's gotten me, and I want you to do the same thing because it could change your life. I want people to get that from me, you know?
I'm still human. I still feel sad. And I'm in a good movie. And it's OK to be sad because we all get sad. That's what I want, for people to feel those things, to experience life for themselves and live it because this is all we have.
The 'Midway' Soundtrack Soars with Battle-Cry Beats
Filmmaker Roland Emmerich–whose repertoire includes legendary films such as Independence Day, Godzilla, and The Day After Tomorrow–returns to the big screen with the historically-rooted wartime drama, Midway. Set in World War II, Midway is based on the events of 1942's attack on Pearl Harbor and the subsequent "Battle of Midway," in which American and Japanese fighters battled nonstop for four consecutive days. To bring this tension to cinematic life, Emmerich enlisted the creative talents of longtime collaborators and composers Thomas Wander and Harald Kloser.
In this exclusive look at Midway's visual soundtrack, debuting on Cinemacy this morning, Wander and Kloser take us on a journey through the sights and sounds of the film, told through untraditional orchestral strings and battle-cry beats. Singer Annie Trousseau (formerly of the pop group Eden's Crush) uses the passion of Edith Piaf, the glamour of Marlene Dietrich, and the moodiness of Billie Holiday as she lends her unique vintage feel to two of the twenty- three songs featured on the soundtrack.
The film, distributed by Lionsgate and starring Woody Harrelson, Luke Evans, Nick Jonas, and Mandy Moore, premieres in theaters this Friday, alongside the soundtrack release via Music Film Recordings.
'The Irishman' Review: Scorsese Contemplates a Lifetime of Crime
At 3 hours and 29 minutes long, with an estimated $159,000,000 budget, and boasting a legendary cast led by one of the greatest living directors of all time, the epic nature of Martin Scorsese's latest film, The Irishman, is nearly unfathomable. Quite literally, it's a film with the scope and ambition of being a masterpiece. Scorsese's mob saga is a tour-de-force that leaps through decades to tell a story that is cinematically brilliant and surprisingly, one of his most emotionally introspective films.
The Irishman, inspired by true events, is told through the point of view of the film's protagonist, Frank Sheeran (Robert De Niro). Confined to a nursing home and facing his mortality, Frank begins to recount his life's story, which Scorsese shows through an expertly intercut series of flashbacks. Starting with Frank's earliest days, we see him driving trucks as a typical blue-collar worker. After unexpectedly linking up with crime lord Russell Bufalino (Joe Pesci) and delivering on personal "jobs" for the mobster, Frank finds himself in his inner circle, quickly climbing the ranks from family man to hitman.
Loyalty and discretion – the traits Bufalino admires so dearly in Frank – are also precisely the traits that union boss Jimmy Hoffa (Al Pacino), President of the International Brotherhood of Teamsters, is looking for in a right-hand man. The hot-tempered and theatrical Hoffa and the cool and collected Frank are on opposite sides of the "composure" spectrum, yet they take to each other instantly and build trust as the years go by. However, good times in the world of organized crime don't last long, and the organization's corrupt inner workings, shady political connections, and dangerous rivalries continue to keep Frank and Hoffa on edge, all leading to the infamously unsolved mystery of Hoffa's disappearance.
While the film evokes all of the incredible period-piece imagery and superb direction that audiences have come to love and expect from Scorsese, The Irishman is also surprisingly introspective, as he examines death and isolation in a closer way than ever before. Of course, plenty of humor is incorporated into the script – which is fantastically acted through further performances by Harvey Keitel and Ray Romano (although I wish the women had more than just a couple scenes with even fewer lines) – but it's the film's quieter moments that make it so unique. De Niro's performance – or performances, plural, as he plays Frank through many years of his life with the help of CGI facial mapping – is sublime.
For Netflix, The Irishman is last year's Roma: a big-budget picture helmed by one of the most respected artists of our time, and at the moment, an obvious front runner for nominations across the board come awards season. If you're able to see this film in theaters, I highly recommend it. On the big screen, it's much easier to immerse yourself into the film for its entire duration (I fear an at-home Netflix watch will lead many to pause the film and interrupt the experience). But either way, Scorsese's latest is undoubtedly among his best and deserves to be seen in any way possible. – Morgan Rojas
THE IRISHMAN (2019)
Starring: Robert De Niro, Al Pacino, Joe Pesci
Directed by: Martin Scorsese
Written by: Steven Zaillian
Distributor: Netflix
Running time: 209 minutes
Playing: In select theaters on November 1 and on Netflix November 27
https://www.youtube.com/watch?v=WHXxVmeGQUc
In 'The Kill Team', Not All Soldiers Are Saints
In 2013, writer/director Dan Krauss's The Kill Team won Best Documentary Feature at the Tribeca Film Festival. Six years later, Krauss returned to Tribeca to debut his cinematic interpretation of the documentary's jarring events – the execution of innocent Afghan civilians by a group of U.S. Military soldiers – in his narrative feature film of the same name. The Kill Team may not uncover new information about these horrific stains on our military's past, but the star power attached may help this story reach new audiences in hopes that history doesn't repeat itself.
Impending deployment to Afghanistan, Andrew Briggman (Nat Wolff) is a born leader ready to join the front lines. Shortly after arriving at base camp, his squad is introduced to Sergeant Deeks (Alexander Skarsgård), a commanding figure who makes his goal very clear: "We kill people, that's what we do." Deeks is blunt when it comes to stating his position, riling up the soldiers and creating a tense, testosterone-filled atmosphere. This is far beyond fraternity bullying as the squad members unleash their aggression by killing innocent civilians with actions that were encouraged by Deeks himself. Troubled by his association with the murders and burdened by guilt, Briggman begins to have second thoughts about the intentions of his commander and the purpose of the mission at large.
The idea of the "hero soldier" that Briggman once aspired to be, turns into an illusion before his eyes. Instead, he now finds himself in a moral tug of war between what he knows is right vs the consequences of betraying the trust of his military brothers. Briggman questions: should he do the right thing and put himself in danger or shut up and deal with it? This hypothetical question further illustrates that the effects of war aren't just from physical battles, but mental ones as well.
Nat Wolff's portrayal of a young soldier fighting through his worst-case scenario creates an emotionally deft performance. His vulnerability remains at the surface throughout the film's entirety, making him easy to root for despite his conflicting behavior. Alexander Skarsgård's dark charisma is frightening as we can easily understand how these impressionable soldiers fell under his macho spell. The Kill Team is not just another war movie; this time, the enemy is the home team. The biggest takeaway here is an awareness of the awful, yet real-life events, that took place not that long ago, and the harsh realization that not all soldiers are saints. – Morgan Rojas
THE KILL TEAM (2019)
Starring: Alexander Skarsgård, Nat Wolff, Adam Long
Directed by: Dan Krauss
Written by: Dan Krauss
Distributor: A24
Running time: 87 minutes
Playing: In Theaters and On Demand October 25
WWII Satire 'Jojo Rabbit' is Undeniably Brilliant
If I were to tell you that a story about a young aspiring Nazi whose deepest desire is to fight for Germany on the front lines during WWII could be funny, would you believe me? It's understandable for one to assume that it would be impossible to find humor in this plotline, but leave it to Taika Waititi to portray Hilter as hilarious in the colorfully off-color satire, Jojo Rabbit.
Jojo (Roman Griffin Davis) is, on one hand, a typical ten-year-old boy; he's susceptible to propaganda and peer pressure – specifically that which supports the war. He also does his best to take care of his single mother, Rosie (Scarlett Johansson). But, on the other hand, Jojo is also a lonely empath with an imaginary friend who just so happens to be Adolf Hitler (Taiki Waititi). Jojo's Hitler plays both devil and devil's advocate; whether it's encouraging Jojo to participate in wild acts or teaching him how to "properly" annunciate "Heil Hitler," this imaginary sidekick is obviously not a great influence on young Jojo. When Jojo unexpectedly discovers that his mother has been hiding a Jewish girl (Thomasin McKenzie) in their home, his allegiance to the Nazi party holds strong, and he threatens to turn her in. But Jojo quickly discovers that, despite being brainwashed into believing that all Jews are evil, he is starting to fall in love with the Jewish girl in the attic. Something that both the real and imaginary Hitler disapprove of.
Waititi, who himself grew up a Māori Jew, plays Hitler as a caricature, a larger than life goof with narcissistic tendencies who is mesmerizing to watch on screen. Roman Griffin Davis, in his first-ever film role, should be praised for multiple scene-stealing performances while going head to head with some of today's top comedic talent. Davis' co-stars include Johansson, Sam Rockwell, Rebel Wilson, Alfie Allen, and Stephen Merchant, all distinguishable talents who make the film memorable.
Jojo Rabbit is based on Christine Leunens’ novel Caging Skies, and the script is full of powerful one-liners and sharpshooting dialogue. However, the strongest accomplishment of the narrative is the amount of call back jokes that come full circle for complete satisfaction. The seeds that were planted at the beginning of the story are slowly watered throughout the film, and seeing them bloom in the third act is a reminder of how strategic and methodical the script actually is. Jojo Rabbit is like watching a game of chess, and the final scene is its checkmate.
Aside from the provocative jokes, nestled just beneath the surface, this is a story about tolerance and acceptance. There are plenty of moments that are unexpectedly heartfelt and emotional, it strikes a perfect balance between silliness and solemnity to create a meaty, well-rounded film. It's been said that '"Children are not born with hate, they are trained to hate," and Jojo Rabbit uses an unconventional and unforgettable approach to prove that point. – Morgan Rojas
JOJO RABBIT (2019)
Starring: Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson
Directed by: Taika Waititi
Written by: Taika Waititi
Distributor: Fox Searchlight
Running time: 108 minutes
Playing: Opening 10/18 at ArcLight Hollywood and The Landmark
'Parasite' is an Arthouse Masterpiece
PARASITE (2019)
Starring Song Kang Ho, Lee Sun Kyun, Cho Yeo Jeong, Choi Woo Shik
Directed by Bong Joon Ho
Written by Bong Joon Ho, Han Jin Won
Distributed by NEON. 132 minutes. Opening 10/11 at ArcLight Hollywood and The Landmark.
I didn't know it was humanly possible to hold your breath for two hours, but after seeing Parasite, let me tell you, it is. South Korean director Bong Joon Ho's highly anticipated thriller has been hot on the lips of many cinephiles for most of 2019; the five-minute standing ovation after its world premiere at the Cannes Film Festival concurred that its hype is fully deserved. Thematically darker that Okja and more realistically unnerving than Snowpiercer, Parasite is a fantastically satirical and biting look at the economic divide, ethics vs. morals, and social commentary on privilege that, in my opinion, is the best film of the year.
Living literally below the poverty line in an underground basement apartment, the Kim family – Ki-taek (Song Kang Ho), his wife, Chung-sook (Chang Hyae Jin), their smart (and smart aleck) daughter Ki-jung (Park So Dam), and college-age son, Ki-woo (Choi Woo Shik) – struggle to make ends meet, as evident by their desperation when they're no longer to freeload off of their neighbor's free wifi. The Kims are used to taking the path of least resistance, barely getting by with contract work folding pizza boxes for a local shop. Unexpectedly, a friend presents Ki-woo with an opportunity to work as an interim English tutor for the daughter of the very affluent Park family. Hesitant at first – Ki-woo is unsure if his street smarts will translate into academic smarts – he eventually agrees to meet with the family. Almost immediately, he wins over the affection of the naive Mrs. Park (Cho Yeo Jeong), who welcomes Ki-woo into their high-class world.
No good can come when gullibility meets greed, as Ki-woo's family sees his employment as an opportunity to score for themselves. What follows is a comedic and thrilling unraveling – with Ocean's 11-style forethought and mechanics – that makes every moment feel like a white-knuckle thrill ride. Bong Joon Ho captures societal issues and human crises in pitch black tones, exposing them in a way that is both shocking and thought-provoking. It's a fantastic example of a perfect film, from script to screen and beyond.
"If you make a plan, life never turns out that way," Ki-taek tells Ki-woo during one of the Kim family's lowest points. Brutally honest life advice (that I agree, should be taught to the young), this is also the perfect sentiment to summarize Parasite: expect the unexpected. Original and authentic arthouse films as good as Parasite don't come around often, and we're all lucky we are here to witness its big-screen release.
A Beginner's Guide to: Bong Joon Ho
South Korean director Bong Joon Ho is having quite a successful 2019.
He was awarded the Palme d’Or at the Cannes Film Festival for his latest feature, Parasite, a family drama/thriller that explores the social and economic divide between the rich and the poor. As of posting this article, the film currently sits at 100% on Rotten Tomatoes. Many are calling it the best film of the year and I fully endorse that statement.
The current attention on Bong Joon Ho's artistic vision has come at the perfect time. He is a director not afraid to take risks, and not just for shock value. His stories serve a purpose. Since his first directing credit in 1994 (the short film White Man), Bong Joon Ho has become known for mixing darkly disturbing black humor with political and social consciousness, all rooted in a form of reality; whether it be in this universe or a parallel one. Sometimes it's easier to watch one of Bong Joon Ho's films and believe that the character conflicts and torturous situations are movie make-believe, but it's hard to deny that unjust police interrogations, devastating effects of manmade environmental abuse, and hunger crises aren't happening in real life. All of these things and more are still issues today.
In celebration of one of contemporary cinema's boldest filmmakers, here are three classic Bong Joon Ho films to check out before you watch Parasite, in theaters this Friday.
Snowpiercer
In his first English-speaking feature film, Snowpiercer is a tour-de-force, a uniquely-crafted powerhouse of a movie that, like the fast-paced train it’s named after, charges ever-forward with such uncompromising force and vision that it leaves behind any semblance of what you might expect from a typical action flick.
Based on the 1982 French graphic novel Le Transperceneige, Snowpiercer tells the story of a failed global-warming experiment (performed in the year 2014) that turns the planet into a frozen icebox. We are introduced to the last of the human race, the poorest of which eat gelatin-like “protein blocks” and live under guard by the utilitarian government-state in the back of the train. This train has been making the same cyclical trip for the past seventeen years. Of course, this being the day that the lower class finally has had enough, they set in motion their plan: to charge through each car to make their way to the front of the train and free themselves from their enslavement. Snowpiercer's untraditional, stylized storytelling combines sci-fi expanse and art house intimacy, and will certainly entertain by making your head spin as it rockets past you.
Snowpiercer is available to stream on Netflix or Amazon.
Mother
This 2009 crime drama opens with a breathtaking wide shot of a woman (Hye-ja Kim) in an expansive wheat field. Her frail body starts to move in interpretive dance, a range of emotions running through her body and face. This woman is the titular Mother, and her story is one of perseverance. When her mentally delayed twenty-eight-year-old son, Yoon Do-joon (Won Bin), is framed for the murder of a local schoolgirl, his mother becomes his biggest and at times, only, support. Her quest for justice won't stop until she proves he didn't do it.
Her son's unjust police interrogation and mental abuse echo situations we've seen in the media, with TV shows like "Making a Murderer" and "When They See Us" as prime examples of young men being taken advantage of by authority figures in their most vulnerable moment. Mother's unwavering determination to protect and save her son takes her on a journey throughout the underbelly of South Korea, and she is willing to do whatever it takes to get him back.
Mother is available to stream on iTunes or Amazon.
Okja
Swedish teenager Greta Thunberg commanded the world's attention when she delivered an impassioned speech at the UN Climate Summit on September 23, 2019, speaking about the dire effects of climate change and how its consequences are going to be very terrible, very soon. Thunberg has been praised by many for her wiser-than-her-years prognosis of the future but others, including the President of the United States, continued to downplay and even mock Thunberg's compassionate pleas. The world needs to pay attention to young women with something to say, and Bong Joon Ho knows this. His protagonist in Okja is a preteen named Mija (Seo-hyun Ahn), a headstrong girl who stops at nothing when her best friend – a genetically-modified, government-loaned super piglet named Okja – is taken away from her to face an unknown future.
Super piglets were thought to be the answer to the global hunger crisis, a revolution in the livestock industry. The brainchild of the Mirando meat corporation's CEO Lucy Mirando (Tilda Swinton), the super piglets were to be loaned out to farmers across the world and in 10 years' time, returned to Mirando to be reproduced and ultimately slaughtered. At a time when environmental activism and ecological awareness is at an all-time high, Bong Joon Ho's Okja is a powerful look at the true cost of consumer greed and capitalism.
Okja is available to stream on Netflix.