There was a perverse logic behind the playdates. Having won every statuette in sight, Parasite now was opening wide in quest of a giant payday, already approaching $200 million worldwide. Love Story, meanwhile, was being resuscitated in 700 theaters as a Valentine’s Day celebration of Hollywood’s consummate date movie (dates usually were consummated).
Filmgoers had a right to be baffled: Would Ki-woo finally emerge from his underground lair to buy the mansion he’d secretly infiltrated? On the other hand, would the Harvard rich kid, Oliver Barrett IV, be banned from hitting on the cute but impoverished (and sickly) Italian girl?
Although the movies are opposites in every way, a filmgoer would detect a common denominator: Both films are fixated on class — a theme that has