Berlinale 75: Bong's back with "Mickey 17"
Sunday, February 16, 2025 at 6:00PM 
Bong Joon-ho rarely misses the mark—or at least, he approaches his projects with such precision that his return to the big screen after Parasite feels both carefully crafted and self-assured. Following a film that not only reshaped his career but also changed Oscar history by opening the doors to international cinema, Mickey 17 carries the weight of great expectations. It may not reach the towering heights of Parasite, but it reaffirms Bong's status as one of the most inventive and influential Korean directors on the global stage.
Interestingly, Bong Joon-ho was already a successful Hollywood filmmaker long before Parasite became a global phenomenon. Films like Snowpiercer and Okja demonstrated his ability to blend spectacle with social commentary, and Mickey 17 feels like a return to that style—for better and for worse. This time, he tackles the sci-fi genre again, weaving a narrative that is both thought-provoking and undeniably entertaining...
Warner Bros. made a smart move by sending Bong Joon-ho a copy of Edward Ashton's novel—a decision that felt almost inevitable. With its blend of dark humor, accessible social critique, and offbeat romance, the book was a natural fit for Bong's storytelling sensibilities. It gave him the opportunity to craft a love story—an emotion shared by both heroes and villains—told in the delightfully awkward, deeply human way that defines his characters. Under his direction, the narrative transforms into a compelling mix of dystopian intrigue, existential musings, and unexpected warmth.
Set in a future where human labor is expendable, the film presents a society divided by class and power, much like Snowpiercer. Scientists and wealthy politicians make the decisions, while a futuristic working class bears the consequences. Bong Joon-ho draws on historical and contemporary figures for inspiration, creating a world where a charismatic political leader is idolized by much of the workforce, complete with slogans, embroidered caps, and media fanfare. The mission at the heart of the story—a para-governmental expedition funded by a big tech corporation—blurs the line between corporate ambition and religious zeal.
Mark Ruffalo, portraying the expedition's leader, delivers a performance that balances absurdity with menace. While the character evokes familiar political figures, Bong's take feels timely rather than heavy-handed. The film's satire extends beyond broad social critique, offering a sharp and current commentary on the intertwining of technology, politics, and power in some narcissistic figures.
At the heart of the film is Mickey Barnes, played with nuance and charm by Robert Pattinson. Mickey is not a true believer but a desperate man fleeing debt and a dangerous loan shark. Out of options, he signs up to be an expendable (a disposable worker) without fully understanding the consequences. Onboard the spaceship, he faces an eternal contractual existence: his body is printed and reprinted, and his memories are reloaded, making him a tool for dangerous tasks on an alien planet.
By his 17th iteration, Mickey finds himself left for dead—only to return and discover that another version of himself has already been printed. The controversial human printing technology, banned on Earth but permitted in space, is central to the film's tension. If discovered, both Mickeys face destruction. Despite their differences, the two versions of Mickey form a fragile alliance, driven by survival and their shared connection to Nasha, the only crew member who treats Mickey as a genuine human being.
Pattinson effortlessly distinguishes between the two Mickeys, mastering the dual role with ease and infusing the film with its unique mix of comedy and pathos. His performance anchors the narrative, while Naomi Ackie brings the heart and charisma of a true leader. Meanwhile, Mark Ruffalo and Toni Collette add a touch of dark humor and theatrical flair, perfectly embodying their roles as narcissistic, power-hungry figures.
Mickey 17 may showcase Bong's trademark wit and visual flair, but it does inherit some of the narrative flaws from his previous Hollywood projects. The story relies heavily on voiceovers and flashbacks, which occasionally disrupt the pacing. At 137 minutes, the film feels longer than it is, though its energetic action and moments of humor prevent it from dragging.
One area where the film falls short is in fully exploring its most intriguing concepts. The ethical and existential questions surrounding human printing are presented more as background information than deeply examined themes. Bong opts to generate sympathy for Mickey through his suffering and the callousness of those around him rather than probing the broader implications of human duplication. Yet, despite these missed opportunities, the film remains compelling due to Bong's ability to balance the absurd and the profound.
The final act brings the film's strengths and weaknesses into sharp focus. While Bong ties together multiple storylines and delivers satisfying resolutions for most characters, some narrative threads feel underdeveloped. An alien species introduced late in the film offers a hopeful resolution but lacks the complexity found in Bong's most incisive works. Nevertheless, the film maintains its emotional core, anchored by the relationship between Mickey and Nasha and the broader struggle against systemic dehumanization.
Ultimately, Mickey 17 may not achieve the narrative precision of Parasite or the haunting complexity of Memories of Murder, but it remains a fascinating addition to Bong Joon-ho's filmography. It blends entertainment with social critique, offering a visually striking and emotionally resonant experience. If it falls short of Bong's most profound works, it still reflects his unique ability to tell stories that are both playful and politically charged—a rare feat in contemporary cinema.
Berlinale 75 coverage:
Reader Comments (2)
Seems to be a trend for 2025 - actors playing twins or in this case, replications of themselves.
-Theo James in The Monkey
-Michael B Jordan in Sinners
-Dylan O'Brien in Twinless