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Review in The New York Times

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The computer-generated Okja, left, and An Seo Hyun in "Okja." Credit... Netflix

Okja

NYT Critic's Pick

Directed by Joon-ho Bong

Action, Adventure, Drama, Sci-Fi

2 hours

Okja is a most remarkable pig. As big as a medium-sized elephant, with a snout that looks more canine than porcine, she is slobbery and sometimes flatulent, but also loyal, gentle and brave. Okja is devoted, above all, to a girl named Mija. They have grown up together on a remote mountain farm that belongs to Mija's grandfather, inseparable companions in a classic literary and cinematic tradition.

But anyone familiar with that tradition - I'll mention "Old Yeller" and leave it at that - knows that stories of children and their pets are almost inevitably shadowed by tragedy and loss. The adult human world regards animals through a callous, utilitarian lens, as sources of food, labor or ornamental cuteness, a fact that "Okja," Bong Joon-ho's wonderful new film, takes to a dystopian but also an unnervingly realistic extreme.

The bond between Okja and Mija, who is an orphan, is the result of a contract neither one of them has read or signed. The pig is the physical and intellectual property of a multinational corporation, and as such she's destined not only for the usual slaughter but also for crass and cynical commercial exploitation. The girl, a serious and stubborn child (played with heroic dignity by An Seo Hyun), is fated to lose her only friend.

Okja | Official Trailer [HD] | Netflix Credit... CreditVideo by Netflix

The audience already suspects as much. The first face we see belongs not to a cute computer-generated piglet but to Tilda Swinton, in braces and a blinding platinum bob. Her character, Lucy Mirando - chief executive of the Mirando Corporation, which she inherited from her father - steps in front of the camera to preside over the brightly greenwashed presentation of a diabolical initiative. A new superbreed of swine has been created, she says, and 26 shoats will be distributed to farmers around the world to be raised in sustainable, free-range conditions. After 10 years, they will participate in a kind of livestock beauty pageant, overseen by a popular television veterinarian played by an antic and abrasive Jake Gyllenhaal.

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Tilda Swinton as a chief executive in the food industrial complex in the film. Credit... Kimberly French/Netflix

The vet's arrival on Mija's granddad's farm, accompanied by Mirando suits and flacks (notably Yoon Jae moon and Shirley Henderson), signals the end of the film's pastoral interlude, a forest romp as lyrical and magical as anything by the great Japanese animator Hayao Miyazaki. Mr. Bong has an eye for natural beauty, and also a kinetic and rigorous sense of motion. Once it leaves the countryside, "Okja" turns into a swift urban caper, full of chases and other action-movie set pieces. Mija sets out to liberate her beloved pig, and is joined (and also partly thwarted) by members of the Animal Liberation Front, an earnest, not-always-competent militant group led by Paul Dano.

The pursuit of Okja jumps from Seoul to New York, and ends up at a nightmarish meat-processing plant in New Jersey. Mr. Bong, one of the great visual storytellers working in movies today - earlier films like "The Host" and "Snowpiercer" have shown him to be an artist of Spielbergian exuberance and skill - never muddies the frame with extraneous stuff or slows the narrative with tedious exposition. The picture, which never stops moving, is dense with information and feeling. Barbs of satire pop up and are washed away on streams of strong emotion. It's all marvelously preposterous and yet, at the same time, something important is at stake.

A conventional name for that something would be humanity, since "Okja," not unlike "E. T.," is about how a young person achieves moral insight by connecting with and fighting for a nonhuman creature. Okja's oppressors, like E. T.'s, are part of a system that refuses to recognize her as anything more than a thing. In this case, that system is specifically the food industrial complex, and her tale is a clear and effective animal rights fable, or at least a protest against factory farming and genetic engineering. (Nobody advocates for the fish and chickens Mija and her grandfather eat at home.)

This might make the movie sound heavier and more dogmatic than it actually is. But if you have seen "Snowpiercer," a parable of global inequality set aboard a high-speed train, you know that Mr. Bong juggles delight and didacticism with exquisite grace. Rather than turn out cardboard heroes and villains, he savors the eccentricity of his characters, in the sheer weirdness of our ingenious and idiotic species. He is fascinated by the petty doctrinal arguments and personal rivalries in the ranks of the Animal Liberation Front and also by the boardroom intrigue within the Mirando Corporation. Keep your eye on Giancarlo Esposito, and your ear out for Lucy Mirando's sister, Nancy.

The human performers are all brilliant, but the movie belongs to its title character and her digitally conjured, genetically modified ilk. Okja is a miracle of imagination and technique, and "Okja" insists, with abundant mischief and absolute sincerity, that she possesses a soul.

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Review: In 'Okja,' a Girl and Her Pig Take on the Food Industrial Complex (Published 2017)

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Okja NYT Critic's Pick Directed by Joon-ho Bong Action, Adventure, Drama, Sci-Fi 2 hours Okja is a most remarkable pig. As big as a medium-sized elephant, with a snout that looks more canine than porcine, she is slobbery and sometimes flatulent, but also loyal, gentle and brave.

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Podcast from BBC - Range of Viewpoints

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The Food Programme - Eating Animals Part 1: The Future of Meat - BBC Sounds

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Catch up on your favourite BBC radio show from your favourite DJ right here, whenever you like. Listen without limits with BBC Sounds.

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Bong Joon Ho's had a rapturous debut at Cannes amongst critics (read our review, here). But due to its stature as a Netflix original film it was unofficially barred by the Jury from receiving any awards. Because Netflix isn't pursuing a theatrical release in France, the President of the esteemed film festival nearly pulled both Netflix films in competition ( Okja and Noah Baumbach's The Meyerowitz Stories). Though they screened (and received some of the best reviews from the festival), the Jury held steadfast on the prediction that they would not reward any of the streaming service's films. Despite this future-of-cinema conversation, the streaming distributor has offered Bong much more creative control than his English-language debut, Snowpiercer, where he had a constant battle with The Weinstein Company over the cut. Indeed, he's quite pleased with his experience this go-round and that freedom will only make Netflix more enticing for filmmakers.

Due to the brazen go-for-broke adventure stylings of Bong's film, it likely would have struggled to find a foothold for awards that generally go to very grounded and piercing works anyhow. But Okja is piercing, nonetheless. The adventure concerns an evil corporation (headed by Tilda Swinton with Giancarlo Esposito as her steady advisor/adversary) that faces the public by showing their good intentions of attempting to feed the world through a method of absurd pageantry that hides the truth to how that's being done. Mirando Corp. has publicly given their genetically manufactured "super pigs" to farmers in various parts of the world to raise for ten years, promising to reward the family who raises the biggest and best pig. The winner of this competition is a young South Korean girl named Mija ( An Seo-Hyun) and her pig, Okja. When the spokesman for the Corp. ( Jake Gyllenhaal) comes to her sleepy countryside to take her away for good, Mija travels to Seoul and New York City in an attempt to return her best friend to her home (with the help of members of the Animal Liberation Army, played by Paul Dano, Lily Collins, Steven Yeun and Devon Bostick).

Along the way, Bong skewers corporate greed, celebrity, the rigorous debates for pure intentions that come inherent to activism and even internment camps. It's a fun adventure with heady topics.

Recently I got the chance to sit down and chat with Bong about how this story spiraled out to include so many different types of modern fears, how Netflix came to partner on the film and what he's doing as a follow-up. When I walked in the room he told me with a big smile that Collider was his favorite website and recalled showing our own Steven Weintraub early sketches for Snowpiercer at Sundance years ago. Our interview after that friendly aside is below.

[ Note: Most of this interview was done directly with Bong in English, but occasionally he would use a translator for sections of answers that he could answer better in Korean; his full answers including translated asides are below.]
COLLIDER: There are so many ideas in this film. Globalization, celebrities, even refugee camps. I was wondering where did it start and how did it spiral into all of these big topics?
BONG JOON HO: It was just a kind of simple chain reaction. Well, we cannot call it simple [ laughs] but anyways...the beginning was simple. It was stuff from the image of an animal. I just imagined a very big animal, but with such a sad face. My first question was: why does that lovely animal look so sad? What makes her suffer? Why is she so big?

We always have two perspectives when we look at animals. There is one perspective where we look at it in a friendly way or we treat it as family, and there's one perspective where we treat it as food. Having such a big sized animal, I thought it would be related more to food. I created the character first from the perspective of family and friend. The life activist, those kind of people on this side. The other side, they see this creature as food, so they make this animal big, so there some G.M. [genetic modification] involved. The G.M. aspect of it derived from the fact that the animal was so big. For example, in reality there are scientists who have succeeded in creating a G.M. salmon, and it's big, and because of it's size I thought that maybe Okja, this creature, too, had some sort of G.M. aspect to it. Also this means that there must be some big corporation. A small company cannot do that kind of project. There is a big company to make this animal. Maybe the CEO, Tilda [Swinton], continues that process.
Why a pig?
BONG: So many animals exist, but there is no animal that we associate with food more than a pig [ laughs]. I feel very sorry for pigs for saying that this is what they are supposed to be. When we imagine pigs, we imagine jerky or sausage or ham, but in reality, pigs are very sensitive, clean, lovely and smart. There are even instances where people have domesticated pigs as pets.
I am curious about the character names of the animal liberators, J and K. I was wondering if that's an allusion to Men in Black Can you talk about about what it was like working with Plan B [Entertainment] after Snowpiercer The Host begins with the American company just saying "dump everything down the drain". This one is behind the scenes but it has very similar effect...it's all this pageantry around it as if they're doing something good when really they're just dumping things down the drain, as well. Were you wanting to explore that idea in a different way? What is next for you? when the release had some issues and Plan B came in and, it seems like, let you make exactly what you wanted to make. . Then you have the colors [Red, Silver, Blond] maybe as an allusion to Reservoir Dogs? I was wondering if that was something that you were playing with.
BONG: I actually never thought about Reservoir Dogs, but now I'm starting to think about it and I love it [ laughs]. But ALF is a real organization that still exists and has existed through recent history. I actually met three ALF members during research and that's how they seem to go about their business...it's funny about these people, they never openly admit that they're ALF members, they always say that they support the cause. The interesting thing is that one of these people I met spent two and a half years in prison for trying to rescue an animal. Considering this he probably was a member. They never actually reveal their real names within the group, so I named them with their hair colors: Red, Blond, Silver. And because Steven Yeun's character is a Korean translator, he's just named K [ laughs].

BONG: I first met Plan B a long time ago-2007 in LA-and they suggested a lot of original source material to me. It was a very light relationship. It was right after I was done with my film The Host and Jeremy and Brad Pitt from Plan B were fans. I also really admired their filmography. They do lots of cavalier films such as 12 Years a Slave. So it was a natural mix between Plan B and I. But even before Plan B came on board the casting casting and effects of the film were already packaged nicely through the Korean producers and the American producer, Dooho Choi. Plan B came slightly later on and because they had a good relationship with Netflix via War Machine, they introduced Netflix to the film and they were fully supportive of Okja. It was a very smooth transition all around so I am very happy.

BONG: This time I want to portray that idea via Tilda, who plays two roles. With Nancy Mirado, like in The Host, I wanted to be very explicit with the violence that she inflicts. Whereas Lucy Mirado, she tries to differ from Nancy. She thinks that she's more elegant, more eco-friendly; she's more obsessed with the marketing aspect of it and how it looks on the exterior. Nevertheless, the winner within the Mirando group is Nancy, not Lucy, and I think that reflects my concerns and fears about the reality of multinational companies within capitalist societies. The more ruthless people almost always seem to take over.

BONG: It's a small size, small budget, 100% Korean-language movie. Working with Song Kang-ho, from The Host and some of my other projects. I'm so happy to work with him again. It's a very crazy, strange story about family. A very weird family. Another one is also small budget, 100% English-language movie based on an American graphic novel. It's not really known, but it has a cult status. Sometime in the future I will reveal what it is, but currently I'm just thinking about and developing it.

Okja is now available on Netflix and in select theaters. The official synopsis is below.

For 10 idyllic years, young Mija (An Seo Hyun) has been caretaker and constant companion to Okja - a massive animal and an even bigger friend - at her home in the mountains of South Korea. But that changes when a family-owned multinational conglomerate Mirando Corporation takes Okja for themselves and transports her to New York, where image obsessed and self-promoting CEO Lucy Mirando (Tilda Swinton) has big plans for Mija's dearest friend.

With no particular plan but single-minded in intent, Mija sets out on a rescue mission, but her already daunting journey quickly becomes more complicated when she crosses paths with disparate groups of capitalists, demonstrators and consumers, each battling to control the fate of Okja...while all Mija wants to do is bring her friend home.

Deftly blending genres, humor, poignancy and drama, Bong Joon Ho ( Snowpiercer, The Host) begins with the gentlest of premises-the bond between man and animal-and ultimately creates a distinct and layered vision of the world that addresses the animal inside us all.

Okja is a Plan B Entertainment, Lewis Pictures and Kate Street Picture Company production in association with Netflix.

For more on Okja:

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Okja: Bong Joon Ho Discusses the Movie's Many Themes

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Bong Joon Ho's had a rapturous debut at Cannes amongst critics (read our review, here). But due to its stature as a Netflix original film it was unofficially barred by the Jury from receiving any awards.

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Trailer One

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few months ago, BBC iPlayer released Carnage, a sci-fi inflected satire written and directed by Simon Amstell, set in a near-future world in which a now-vegan human race struggles to come to terms with its meat-eating past. Now, Korean director Bong Joon Ho's cautionary tale of genetically modified meat arrives on Netflix, with a limited but welcome UK theatrical release. Like Carnage, Okja uses the trappings of sci-fi fantasy to ask uncomfortably down-to-earth questions about where our food comes from, exposing the savage teeth of consumerism behind the friendly smile of corporate capitalism.

In the remote mountains of South Korea, young Mija (An Seo Hyun) has raised and bonded with Okja, one of a batch of "super-piglets" created by the agrichemical corporation Mirando as a potential solution to global hunger. Okja is a gentle giant, bred to tread softly upon the earth - to "consume less feed, produce less excretions", but (most importantly) to "taste fucking good". Yet she's also intelligent and empathetic enough to perform complex self-sacrificing feats when her teenage human companion is in deadly danger. That, of course, means little to Mirando's wall-toothed CEO Lucy (Tilda Swinton, reuniting with Bong after Snowpiercer), who retrieves her prize product to take part in a porcine beauty pageant in the US, intent on serving her up on a plate.

Desperate to save her friend, Mija heads to New York, crossing paths with the chaotically idealistic Animal Liberation Front, led by Paul Dano's Jay, who plans to use Okja as a mole in Mirando's hellish labs and slaughterhouses. Meanwhile, Jake Gyllenhaal's hack TV zoologist/veterinarian Dr Johnny Wilcox (a role that Bong's British co-writer, Jon Ronson, reportedly based in part on the UK's much-loved Johnny Morris) wrestles with his conscience as the public face of carnivorous corporate greed.

Having proved himself a master of the sociopolitical creature feature with (a record-breaking hit in South Korea), Bong once again combines humour and horror in this cross-generic incredible journey. From the anthropomorphic sentimentality of Babe to the slaughterhouse realities of Shaun Monson's 2005 documentary Earthlings, Okja combines the holistic man-and-nature themes of a Studio Ghibli animation with the alarming food-industry revelations of Cowspiracy: The Sustainability Secret.

Not that this is vegetarian propaganda; our heroine feasts on fish, and Bong himself admits to enjoying a barbecue. Instead, the target is the dual-faced nature of "caring capitalism" - of profit-driven imperatives cloaked in the crowd-pleasing garb of eco-awareness. It's a dichotomy embodied by Lucy and her twin sister, Nancy, also played by Swinton: one a white queen who promises to find "natural" solutions to global problems; the other a dark spectre interested only in the bottom line; both daughters of the same psychopathic industrialist daddy.

As the child at the centre of the drama (a first for Bong), An Seo Hyun presents both wide-eyed innocence and steely resolve, her diminutive frame contrasting starkly with the giant structures of the cities into which she ventures. Her Mija is smart and resourceful, and we believe in the tears she sheds for Okja, and her determination to rescue her companion and take her back to their Eden-like mountain home.

Plaudits to visual effects supervisor Erik-Jan de Boer, who won an Oscar for his work on Ang Lee's and here brings creature-designer Hee Chul Jang's beast to life in a manner that combines massive physical heft with cute and cuddly charm. Cinematographer Darius Khondji conjures widescreen vistas into which the CGI Okja slips seamlessly, from the blue-green beauty of the mountaintops to the increasingly grotesque environments of the third act.

Alongside Bong regular Byun Heebong (typically engaging as Mija's grandfather), the starry supporting cast includes Lily Collins, Daniel Henshall, Shirley Henderson and Giancarlo Esposito - quite the lineup.

There remains consternation within the film industry about Netflix's distribution model, with last month's Cannes festival (where Okja premiered in competition) becoming the focus of heated debates about "real films" being shown in cinemas, not on television screens. Yet who else would have backed such an adventurous movie, which swings between child's-eye adventure, dystopian slapstick, and poignantly chilling atrocity, and on which Bong had final-cut freedom to follow his instincts, no matter how wild or weird? Okja deserves to be seen in a cinema, but we have streaming services like Netflix to thank for its strange existence.

Okja opens in cinemas on 28 June

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Okja review - a creature feature to get your teeth into

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few months ago, BBC iPlayer released Carnage , a sci-fi inflected satire written and directed by Simon Amstell, set in a near-future world in which a now-vegan human race struggles to come to terms with its meat-eating past. Now, Korean director Bong Joon Ho's cautionary tale of genetically modified meat arrives on Netflix, with a limited but welcome UK theatrical release.

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“All Edible, Except the Squeal”: Language and Power in Bong Joon-ho’s Okja

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Parasite made history in 2020 when it became the first film not in English to win an Academy Award for Best Picture. Director Bong Joon-ho’s success is groundbreaking in the conversation about dive…

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Bong Joon-ho on why Netflix’s Okja won’t be fictional for much longer

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‘Okja is real. It’s actually happening. That’s why I rushed making Okja, because the real product is coming’

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Review: ‘Okja’ - Another Gaze: A Feminist Film Journal

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Much like Okja the genetically modified pig, Okja the film had a controversial and ground-breaking genesis. It is one of...

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Trailer Two

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Is a pig grunt worth a thousand words? Perhaps so. In a new study, an international team of researchers from Denmark, Switzerland, France, Germany, Norway and the Czech Republic have translated pig grunts into emotions. The findings have been published today in Scientific Reports.

Using more than 7000 audio recordings of pigs, the researchers designed an algorithm that can decode whether an individual pig is experiencing a positive emotion ('happy' or 'excited'), a negative one ('scared' or 'stressed') or somewhere in between. The recordings were collected in a wide range of situations encountered by commercial pigs, both positive and negative, from when they are born until their deaths.

"With this study, we demonstrate that animal sounds provide great insight into their emotions. We also prove that an algorithm can be used to decode and understand the emotions of pigs, which is an important step towards improved animal welfare for livestock", says Associate Professor Elodie Briefer of the University of Copenhagen's Department of Biology at the University of Copenhagen, who co-led the study.

Short grunts are 'happy' grunts

The researchers recorded pig sounds in both commercial and experimental scenarios, which based on the behavior of the pigs, are either associated with a positive and negative emotion. Positive situations included, for example, those when piglets suckle from their mothers or when they arere united with their family after being separated. The emotionally negative situations included, among others, separation, fights between piglets, castration and slaughter.

In experimental stables, the researchers also created various mock scenarios for the pigs, designed to evoke more nuanced emotions in the middle of the spectrum. These included an arena with toys or food and a corresponding arena without any stimuli. The researchers also placed new and unfamiliar objects in the arena for the pigs to interact with. Along the way, the pigs' calls, behavior and heartrates were monitored and recorded when possible.

The researchers then analyzed the more than 7000 audio recordings to see if there was a pattern in the sounds as a function of the emotions, and if they could discern the positive situations and emotions from the negative ones. As already revealed in previous research, the researchers collected more high-frequency calls (such as screams and squeals) in negative situations. At the same time, low-frequency calls (such as barks and grunts) occurred both in situations where the pigs experienced positive or negative emotions.

The situations between the extremes were particularly interesting. With an even more thorough analysis of the sound files, the researchers found a new pattern that revealed what the pigs experienced in certain situations in even greater detail.

"There are clear differences in pig calls when we look at positive and negative situations. In the positive situations, the calls are far shorter, with minor fluctuations in amplitude. Grunts, more specifically, begin high and gradually go lower in frequency. By training an algorithm to recognize these sounds, we can classify 92% of the calls to the correct emotion", explains Elodie Briefer.

The researchers recorded pig sounds in both commercial and experimental scenarios, which based on the behavior of the pigs, are either associated with a positive and negative emotion. Positive situations included, for example huddling with littermates. Photo: Elodie Briefer.

Farmers can monitor animal emotions

The study of animal emotions is a relatively new field that has come about over the last 20 years. Today, it is widely accepted that the mental health of livestock is important for their overall well-being. Nevertheless, today's animal welfare focuses primarily on the physical health of livestock. Indeed, several systems exist that can automatically monitor an animal's physical health for a farmer.

"We have trained the algorithm to decode pig grunts. Now, we need someone who wants to develop the algorithm into an app that farmers can use to improve the welfare of their animals", says Elodie Briefer.

She adds that, with enough data to train the algorithm, the method could also be used to better understand the emotions of other mammals.

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We can now decode pigs' emotions. Using thousands of acoustic recordings gathered throughout the lives of pigs, from their births to deaths, an international team of researchers is the first in the world to translate pig grunts into actual emotions across an extended number of conditions and life stages.

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Consumer expectations are changing when it comes to animal welfare - so where does that leave the pork industry and the debate over the use of farrowing crates?
Pig farmers are caught in the middle in a battle over farrowing crates, amid a major shakeup to the way pork is produced.

The saga also highlights the growing pressure on farmers to keep up with the changing demands of consumers.

Up to 60 percent of New Zealand pig farmers use the steel farrowing crates. The sows are put in them just before they give birth and they're kept there for up to five weeks after they've given birth.

Farmers and industry groups say the crates prevent the sows crushing the piglets to death, but animal welfare groups say they're bad for the mother pig's mental and physical health.

The ongoing use of farrowing crates was deemed unlawful in a 2020 High Court ruling and the government agreed to phase out their use by 2025.

But industry groups like New Zealand Pork say thousands more piglets will die, and it could put pig farmers out of business.

The move is complicated by messy messaging over the course of a decade about New Zealand's animal welfare legislation, with farmers told farrowing crates were out, then they were allowed back in, then they were out again.

New Zealand Pork has been pushing the issue with a review underway of the welfare code for pigs by the independent National Welfare Advisory Committee (NAWAC) and the Ministry for Primary Industries (MPI).

The review was prompted by the court ruling, which recommended new rules on the use of farrowing crates.

The draft welfare code includes changes to the use of crates and the amount of space that needs to be provided for grower and weaner pigs. Consultation with farmers and the public closes in early July.

But whatever the outcome, farrowing crates will have to be out by 2025, says veterinarian Helen Beattie, who specialises in the science of animal welfare.

Beattie, who founded the group Veterinarians for Animal Welfare Aotearoa, explains to The Detail the complex history of New Zealand's animal welfare laws and the world-first inclusion of animal sentience in a series of legislative amendments made in 2015.

She says the debate around farrowing crates has put huge stress on the farmers, which flows on to their families and communities, and the animals themselves.

But Beattie believes we can be both pro-farming and pro-animal welfare.

"The thing about animal welfare is that it's a journey, it's just taking little steps in the right direction all of the time," she says.

And that's something consumers too are coming to expect.

"Expectations change, consumers want different things and consumers are a really powerful part of this conversation and becoming increasingly more discerning," she says.

"Yes, there is conflict in the conversation, and I think what people like me want to see is bringing the animal welfare science to the conversation and saying, we get that it's hard, but strategically we have to keep making progress because if we don't, our farming systems using farmed animals are going to be irrelevant because people won't want to eat our products or wear our products."
You can also stay up-to-date by liking us on Facebook or following us on Twitter.

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Pig problems and the debate over farrowing crates

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Consumer expectations are changing when it comes to animal welfare - so where does that leave the pork industry and the debate over the use of farrowing crates? Pig farmers are caught in the middle in a battle over farrowing crates, amid a major shakeup to the way pork is produced.

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Interview with Director

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SBIFF 2020 - Bong Joon Ho Discusses "Okja"

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Special Effects