Finally some good news. It is unnecessary, as in the past, to wait until November to be able to discover the palme d’or of Cannes. Parasite of Bong Joon-ho is already in the room. No reason so far to disclose his plot. Before the screenings in cannes, the Korean film-maker was asked to criticism that they reveal the least possible shading. Let’s just say that the new film by the Korean director, the first from his country to receive the palm, writing a fable social. The opposition of the family of a poor to a wealthy family. If all of the winners of the week in cannes is widely open to criticism, Parasite deserves its reward. And this, according to the whole of the national press, of Télérama to West France , passing through 20 Minutes and Le Figaro .

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Under the pen of criticism is a same praise: the scenario is of an exceptional virtuosity. Christophe Caron, to the Voice of North , calls it “amazing”. “The Korean master, excels here with a fable social ultracorrosive, by reviewing all of the records (burlesque, chronic, thriller, horror),” he continued. Nicolas Schaller in the New Obs is pâme in front of “the virtuoso art of the hybridization of genres and the breaking of thy”. Same story in Journal du Dimanche. The writing was dumbfounded by the accuracy, ingenuity and the virtuosity of the mise-en-scene of this story to be both hopeless and joyfully furious”. Enough to have felt “a slap, a monumental.

Virtuosity to which is added an acid humour, ” says Simon Materials of Wide-Screen , “and whose ferocity will leave you breathless”. The confrontation of social happening of the humor to hate in a jiffy. “The social satire takes a turn more bloody, explains Stephen to Sorin of the Figaro . We will say no more, except that Parasite is the metaphor of a country where the poor live like rats.”

“, A popular success in perspective,”

The Inrocks , Thierry Jousse is pleased with the “tour de force” of the Korean director, who manages to bring together in a same gesture, it is rare enough to report it, “the public opposed”. This is probably due to a work “completely clear and, at the same time, complex,” “at once very concrete and frankly breathtaking”. It is necessary, therefore, to go see Parasite . Then the goodbye. “ Parasite is so well troussé that we want to return there pronto, if only to analyze the workings,” says Caroline Vié of 20 Minutes , who considers even that the golden palm is poised to become a “cult”.

Pierre Vavasseur from the Paris crowd, to him, “a popular success in perspective.” And encourage her colleagues critical to help her prediction to come to fruition. “If the media have an exciting mission, it is well to put everything into work to convince a pool of spectators instinctively obstinate to an asian cinema that they might consider too far from their expectations” of scurry.