In a recent conversation at the British Film Institute, acclaimed director Bong Joon Ho revealed that Mark Ruffalo‘s character in his upcoming film, “Mickey 17,” bears a striking resemblance to former President Donald Trump. The director’s comments come ahead of the film’s release on March 7, and they sparked considerable intrigue, especially considering Trump’s past criticisms of Bong’s award-winning film, “Parasite.”
Bong explained that “Mickey 17,” filmed in London in 2022, includes elements that mirror real events rumored to unfold in 2024. He described Ruffalo’s character, Kenneth Marshall, who exhibits “faintly orange-tinged skin,” emphasizing the unsettling coincidences that have appeared to play out in reality. After the similarities emerged, Ruffalo reportedly remarked, “Were we oracles predicting the future?” This quote encapsulates the eerie overlap between the film’s narrative and political symbology.
During the discussion, when asked if his portrayal was a response to Trump’s disparaging remarks about “Parasite’s” success, Bong humorously dismissed the idea, stating, “I am not that petty,” which elicited laughter from the audience. This light-hearted remark contrasted sharply with the serious implications of the visual and thematic parallels drawn in the film.
The narrative of “Mickey 17,” based on Edward Ashton’s novel, revolves around a character who gets repeatedly “printed” after dying during dangerous missions. Bong expressed his fascination with this concept and how it differs from traditional cloning methods. Ruffalo’s initial uncertainty about his role as a villain highlighted the complexities of character portrayal in a narrative that blended humor and dark themes, leaving him concerned about public perception of his character.
Bong Joon Ho’s career path from his debut with “Barking Dogs Never Bite” to projects like “Memories of Murder,” “The Host,” and “Mother” reveals his growth as a filmmaker. His films have consistently pushed boundaries and intertwined genres, which he explained arises naturally in his writing process. “I don’t really see them in those separate elements,” he stated, expressing how he integrates comedy and tragedy without excessive deliberation.
Moreover, the director shared insights into his writing routine, admitting a preference for bustling cafes over isolation. He noted a bittersweet reality where many of his usual writing spots have closed, reflecting a change that underlines the transient nature of creative spaces. As the BFI prepares to showcase several of Bong’s films in the upcoming months, this retrospective promises to further engage audiences in his unique storytelling style.
The familiar motifs of political and personal conflict in Bong’s work appear to resonate even more profoundly in “Mickey 17,” raising questions about the director’s foresight and the broader societal impacts of his narratives. Given the film’s engaging premise and its unsettling political commentary, audiences are left pondering the intricate connections between art and reality that Bong Joon Ho masterfully navigates.
