As the editor of the Culture department at The New York Times, Gilbert Cruz relies on critics, reporters and editors in every field of the arts for their expertise. In a new series, we’re bringing his questions — and our writers’ answers — to you. First up: his brief exchange with the co-chief film critic Manohla Dargis following the big wins for “Parasite” at the Oscars.

Gilbert asks: Manohla, I’ve seen “Parasite” and several other Bong Joon Ho movies. But I want to dig deeper into South Korean cinema. A little help?

Manohla answers: Where to begin?!

South Korean cinema has rocketed to international prominence over the past few decades, as have some of its greatest filmmakers, including Bong. If you loved “Parasite” but haven’t seen any of his previous six features, I envy you — you have hours of pleasure awaiting you. And while I’m not partial to his first feature, the satire “Barking Dogs Never Bite,” everything that this sui generis filmmaker has made since is a must-see, from his unsettling monster movie “The Host” to the equally unnerving “Mother,” a tale of monstrous motherhood.

Film festivals can be a terrific way to check out the latest in new South Korean cinema, especially given that not everything hits streaming (in English). If you’re interested in seeing work from women, sometimes your local festival, museum or cultural center might be your best bet, simply because those movies may not be otherwise available. Among the titles from women making the festival rounds is “The House of Us”; in the March issue of “Sight and Sound,” Bong singled out its director, Yoon Ga-eun, as a filmmaker to watch. (Bong also gave a shout out to Kim Ki-young, whose feverish 1960 “The Housemaid” is essential viewing.)