Regardless of genre, the films of South Korean auteur Bong Joon Ho persistently probe at the divide between the powerful and the powerless. The shape of that power is often tied to whatever cinematic form with which Bong is playing. In his directorial debut, the darkly comedic “Barking Dogs Never Bite,” a struggling academic and social climber aim their career frustrations at other people’s pet dogs, whom they perceive as receiving more attention than they do. In “Okja,” Bong went wider with his consideration of animal abuse, wondering about the souls of the creatures fought over by the meat industry and pro-animal-rights groups. In creature feature “The Host,” Bong creates a literal monster out of our abuse of the environment, making plain the cyclical nature of pollution and how our industrial might equal our dehumanization. The star of that film, Song Kang-ho, would also appear in Bong’s “Snowpiercer,” about an uprising by the have-nots against the haves on a train traveling around a post-apocalyptic world, and in Bong’s Best Picture Oscar winner “Parasite,” which considered similar themes about capitalist decay and individual powerlessness. All of that is to say, Bong’s efforts are often focused on the shades of gray that make up the human experience, and that exploration is especially unsettling in Bong’s exceptional crime drama “Memories of Murder.”