With a confirmed case count that grows distressingly higher by the day, the coronavirus pandemic will dictate our lives for months to come. There’s a reason movies that were supposed to come out in June have already been pushed back months, if not until 2021. But San Diego Comic-Con organizers remain optimistic possibly irresponsibly so, in the same way that it took Disneyland too long to close that pop culture fanatics will descend upon the San Diego Convention Center from July 23-26.
“To our amazing Comic-Con and WonderCon fans: We understand how difficult the current climate has been for all of us and appreciate your continued support through these trying times. No one is as hopeful as we are that we will be able to celebrate #SDCC2020 together come July,” the official SDCC account tweeted. “As we continue to monitor the situation with local authorities, we will post updates on our social channels! Until then, remember: ‘A hero is an ordinary individual who finds strength to persevere and endure in spite of overwhelming obstacles.’ — Christopher Reeve.”
To our amazing Comic-Con and WonderCon fans: We understand how difficult the current climate has been for all of us and appreciate your continued support through these trying times. No one is as hopeful as we are that we will be able to celebrate #SDCC2020 together come July. 1/2
As we continue to monitor the situation with local authorities, we will post updates on our social channels! Until then, remember: “A hero is an ordinary individual who finds strength to persevere and endure in spite of overwhelming obstacles.” — Christopher Reeve 2/2
San Diego Comic-Con was attended by 135,000 people in 2019. I’ve been to Hall H. It’s already a cramped nightmare before worrying about the deadly virus. As fun as the full-cast panels can be, the smart and potentially life-saving option would be to push SDCC to later in the year. Who knows? Maybe by then, The New Mutants will be out.
Welcome to Pop Culture Imports, a column that compiles the best foreign movies and TV streaming right now.
As this quarantine wears on, I know you’re all bored enough that you will give a foreign film a try. And with studios releasing some of their biggest theatrical and festival hits on digital platforms early, now is never a better time. Neon’s romance for the ages, Portrait of a Lady on Fire, hit Hulu early last week, while Netflix has some word-of-mouth hits on its hands with the electric K-drama Itaewon Class and the Spanish dystopian thriller The Platform. Those films and more are in this week’s Pop Culture Imports.
Let’s fire up those subtitles and get streaming.
Portrait of a Lady on Fire – Hulu
Genre: Romantic drama
Director: Céline Sciamma
Cast: Noémie Merlant, Adèle Haenel.
When the poets write of the great love stories, at the top will be the searing romance between Marianne and Héloïse in Portrait of a Lady on Fire. Céline Sciamma’s rapturous lesbian drama, Portrait of a Lady on Fire follows female artist Marianne Noémie Merlant who is commissioned to paint the wedding portrait of a mysterious daughter Adèle Haenel of a French countess, under the pretense of being her walking companion. But as they spend more time together, a close friendship blossoms and eventually, a deep, ecstatic romance. What else can there be written about this movie that hasn’t been written already? Why haven’t you seen it five times already? Watch it now and weep over the sheer overwhelming emotion of it all.
Watch This If You Like: Call Me By Your Name, Carol, Disobedience, the myth of Orpheus but 10 times sadder.
Itaewon Class – Netflix
Country: South Korea
Creator: Kim Do-soo
Cast: Park Seo-joon, Kim Da-mi, Yoo Jae-myung, Kwon Nara.
I write about a lot of K-dramas in this column, and even as a fan of the medium, they start to feel samey after a while. But Itaewon Class has an energy to it, an electricity that pulses through its story of a young business owner whose group of ragtag employees try to hold down their bar in the hottest neighborhood in Seoul, that makes the series feel like few K-dramas I’ve watched before. The series follows Park Saeroyi Parasite‘s Park Seo-joon, an impossibly principled young man with a bad haircut whose opens a pocha a sort of sit-down bar called DanBam and destroy his enemies by turning it into the biggest food company in Korea. He opens the restaurant in the rapidly gentrifying neighborhood of Itaewon and hires a crew of misfits that all hail from backgrounds not usually seen on Korean TV — an ex-con, a transgender woman chef, and a black Korean man among them. Itaewon Class has a...