Going into Parasite, it’s hard to know what to expect. Advance reviews and discussions of the film—which won the Palme d’Or at Cannes this year, the first South Korean film to do so—speak of the film obscurely. For good reason: There’s a gleeful and terrifying twist—which I won’t spoil—that radically and dramatically alters the tone of the film. But Parasite is director Bong Joon-ho at his very best. At turns hilarious and deeply unsettling, it’s a departure from the sci-fi bent of his recent movies (the post-apocalyptic Snowpiercer in 2013 and the factory- farming-themed Okja in 2017), though it’s no less concerned with the state of society. Set in Seoul, South Korea—a city within a country that has experienced an immense amount of economic growth in the past few decades—the families and class issues at play reflect our global era, in which the disparity between the haves and have-nots seems to be widening.