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“Parasite” directed by Bong Joon-Ho is a dark comedy thriller that explores social class disparities and critiques the socio-economic structure in today’s society. "Parasite" challenges the notion that postmodern cinema should not be political through themes such as class struggles, economic inequality, exploitation and parasitism, and class relations. "Parasite" centers around the theme of class struggle by portraying a stark contrast between the wealthy Park family and the impoverished Kim family. The film delves into the ways in which social and economic hierarchies shape the lives and opportunities of individuals. The movie also highlights the economic disparity between the rich and the poor. It portrays how the Kim family, living in a cramped semi-basement apartment, strive to improve their economic standing by infiltrating the lives of the affluent Park family through manipulation and deceit. The film's title itself reflects the parasitic nature of the relationship between the two families. It explores how individuals from different social classes exploit one another for personal gain. The Kim family gradually embeds themselves in the lives of the Parks, revealing dynamics of dependency and exploitation. Bong Joon-ho uses satire to critique the behavior and attitudes of the upper class through the portrayal of the Park family as being oblivious to the struggles of the lower class and as having a condescending attitude towards those they perceive as beneath them. This satire serves as a commentary on the detached and often indifferent nature of the wealthy elite. "Parasite" also  explores power dynamics within the context of class relations. As the Kim family infiltrates the lives of the Parks, the power dynamics shift, challenging traditional notions of authority and societal roles. In summary, "Parasite" is a politically charged film that engages with themes of class, economic inequality, and social injustice through its depictions of the Kim and Park families. Through its narrative complexity and layered storytelling it provides its audience a critique of today’s society and the social hierarchy between the wealthy and poor.

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At its core, "Us" operates as a social commentary, delving into themes of inequality, privilege, and the societal divisions prevalent in contemporary America. The film utilizes the doppelgänger trope as a metaphorical device, symbolizing the unseen and often ignored aspects of society. The tethered, representing the marginalized and oppressed, emerge as a distorted mirror reflecting the consequences of neglect and systemic injustice. Jordan Peele’s use of the ‘other’ as an embodiment of outsiders who are resented by society. One of the film's major political themes is the idea of privilege.  In order for someone to accomplish or achieve what they think is deserved to them another person has to suffer in return which is exemplified by the doubles who prosper and enjoy life above while the tethered remain underground. “Us” also creates an interesting dynamic with its storytelling leaving the question of who is the true villain unanswered by having both the tethered and untethered occupy both roles of good and evil. The villain isn’t necessarily a person but more of the idea of two social groups, one of which prospers at the expense of the other. In conclusion, "Us" stands as an example of the political nature and themes of postmodern cinema along with the political issues directors bring into the light for the audience. Jordan Peele employs innovative storytelling techniques such as the twist ending of Red and Adelaide’s switch to address pressing social issues, challenging conventional norms in cinema today while also inviting audiences to confront uncomfortable issues that exist within society today. “Us” is far from being apolitical. The film exemplifies how postmodern strategies can effectively communicate complex and almost unnoticed political issues while giving light to societal issues.

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"Eternal Sunshine of the Spotless Mind" 

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"Eternal Sunshine of the Spotless Mind" 

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“Eternal Sunshine of The Spotless Mind” Is a film that handles the perception of time and memory along with human identity in a very realistic and human way. For example the viewers are presented with a non-linear almost backwards storyline where the audience is presented with the more recent memories of Joel’s mind. One of the major themes in this film regarding the relationship of memory and identity is how identity is shaped by memory. During the erasure process, Joel realizes how important the memories of Clementine are to him despite how much they hurt to remember. They shape who he is as a person despite whether or not they are good memories or bad. The non-linear structure of the film mirrors the cyclical nature of relationships. The story unfolds backwards, revealing the ups and downs of Joel and Clementine's relationship. This structure implies that relationships often follow patterns, and individuals may find themselves repeating similar dynamics even after attempting to break free from them such as the end when despite all they have gone through the two start at square one, together again. Finally, the film suggests that embracing the imperfections and complexities of relationships, rather than trying to erase them, is essential for personal growth. Joel and Clementine Learn to accept each other with their flaws and vulnerabilities, acknowledging that there is no such thing as a perfect relationship and that one can never truly act in or expect perfection. In conclusion, "Eternal Sunshine of the Spotless Mind" proposes that while memories are a fundamental part of our identity, attempting to erase the bad ones may not be the solution. The film encourages acceptance of the past, learning from it, and recognizing that the totality of our experiences, both good and bad, contributes to who we are as a whole.

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I believe the main character of Quentin Tarantino’s film “Pulp Fiction” is Samuel L. Jackson’s character, Jules. The reason why I believe Jules is the main character is his use of  biblical references, his experiences, and his final decision to leave his criminal lifestyle behind. Early on into the movie when Jules and Vincent are first introduced to the audience, the two are going to collect a briefcase that belongs to their boss, Marsellus Wallace. During the job, Jules brings up his first biblical reference where he incorrectly quotes the bible verse Ezekiel 25:17

“The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.”

Despite being an incorrect iteration of the actual verse, this scene sets up the inner conflict within Jules where he begins to question where he fits within this made up bible passage. After he recites this and the two execute Brad, another man who was not accounted for bursts out of the bathroom and shoots at Jules and Vincent. Every shot misses and Jules points this out calling it a miracle.

Later on in the movie we see a major shift in Jules’ character at the end when the movie returns to the robbery at the diner. Here Jules decides not to be confrontational to the robber and explains why. Once again he references Ezekiel 25:17 before sparing the life of the robber and giving him the cash from his wallet. This shows that Jules very well should be the main character along with the fact that despite not having as much screen time as the other characters he is one of the few characters the film closely follows with the least amount of background appearances. In conclusion, I select Jules as the main character for his character arc and the blocking used to make him more noticeable and recognizable through the use of overlapping storytelling. On a side note, I know that either Vincent Vega or Butch are more likely to be the main character(s) but Samuel L. Jackson’s performance is phenomenal in bringing this character to life

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Martin Scorsese's film "Taxi Driver" offers a complex portrayal of its main character, Travis Bickle. Travis’s depiction evokes a sense of ambiguity and unease from his interactions with other characters. Scorsese seems to want to create a mix of sympathy and repulsion toward Travis. On one hand, he's a loner and an alienated war veteran who is genuinely disturbed by the decay of the city around him and the moral degradation he perceives in New York City. His desire to "clean up the scum" of the city, particularly through his connection with Iris, a child prostitute, can be seen as a well-intentioned but misguided attempt at heroism. This elicits empathy. On the other hand, Travis's violent tendencies and erratic behavior, including his planning of a political assassination, are deeply unsettling and repulsive. Scorsese uses cinematography, sound design, and Robert De Niro's intense performance to emphasize Travis's detachment from reality and growing mental instability. Travis's sense of identity and selfhood primarily derives from his isolation and disillusionment. His experiences in the Vietnam War have left him scarred, and he struggles to reintegrate himself into society through any normal means. He becomes a taxi driver, a profession that isolates him further, emphasizing his lack of connection with others. His desire for purpose and identity leads him down a path of vigilantism, which he believes will redeem him and give him a sense of meaning and purpose. However, this pursuit ultimately deepens his descent into madness. In conclusion, Scorsese intentionally creates a character so tainted by alienation and so disgusted by the corruption surrounding him that he is driven to insanity. His character embodies the disconnection and disillusionment of his era, forcing the confrontation of the darker aspects of humanity and society itself. Travis's sense of identity is rooted within his isolation and his longing for a purpose, and Scorsese's nuanced portrayal creates the challenge of determining whether or not Travis is just in his actions and doing the city a favor or becoming assimilated in the corruption he despises..

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The film “Bonnie and Clyde challenges traditional gender roles in film by portraying Bonnie Parker as a rebellious and brave character. Bonnie isn’t confined to the typical characteristics of female roles in movies from Hollywood’s classic age. Bonnie’s character also represents a shift in the representation of women through the actions and crimes she commits and participates in throughout the movie such as robbing banks and murder. Clyde Barrow, on the other hand, exhibits elements of traditional masculinity but also displays vulnerabilities and insecurities. He doesn't fit the typical mold of a stoic, powerful leading male character. This complex portrayal of masculinity contrasts with the likes of Kane from "Citizen Kane," who is often seen as the archetypal powerful, dominant male character in classic Hollywood cinema.The film's performance style also plays a significant role. Warren Beatty and Faye Dunaway, who played Clyde and Bonnie, respectively, brought a raw and naturalistic acting style to their characters. This naturalism was a departure from the more stylized and theatrical performances of characters like Rick in "Casablanca." The realistic performances in "Bonnie and Clyde" added to the film's cultural impact. The movie also rebels against the traditional code in Hollywood by showing moments of intimacy between Bonnie and Clyde. These moments also show the nature of their relationship. In the first scene we see this, Bonnie and Clyde have just robbed a bank and Clyde explains to Bonnie that he fears for her safety and that she should go back home. This moment breaks a plethora of gender stereotypes in Hollywood cinema because it is a male lead showing vulnerability and emotion while the female lead is assertive and makes the decision on what to do next. In conclusion the portrayal of the real life criminals Bonnie and Clyde is the beginning of the American New wave by changing the norms Hollywood had followed for decades prior.

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Doubling in Strangers On A Train is shown expertly through the use of blocking and through the plot itself. In the intro of the movie the viewer is shown multiple low angle mid-distance shots of two characters walking side by side multiple times. After which, the movie introduces its first two characters, Guy Hanes and Bruno.

The shot in which they are introduced they are sitting across each other on a train and begin a conversation. This is where the theme of doubling is exemplified in the plot through Bruno’s theory. Bruno believes that he and Guy could solve each other's problems by murdering both Guy’s wife and Bruno’s father, a double murder with no possible suspects. The plot also contains a lot of double’s, when Miriam and Guy discuss their divorce and she reveals that she has changed her mind and she is accused of double crossing Guy. When Miriam is seen at the carnival she is with two other people and also double crosses Guy again by seeing another man and having his child.

The props at the senator's house are also used to hammer in the theme of doubling, when Barbara is making coffee after Guy returns from questioning she makes two cups of coffee. When Guy is walking with Hennessey in the next shot the two walk side by side shoulder to shoulder. Guy and Bruno are doubles yet opposites. Guy reacts to all of Bruno’s actions while Bruno initiates every interaction and contact following the murder. Bruno seeks while Guy attempts to run.

The doubles theme appears again when Bruno meets Barbara. Bruno freezes at the introduction of the two and hears the music of the amusement park and he freezes again when first meeting Mrs. Cunningham and talks about murder with her. Guy and Anne discuss the incident at the party and realize that Bruno sees Barbara and Miriam as doubles, similar but also morally opposites.