Parasite is a challenging movie to discuss. Thus, finding words to explain it are tough. If there’s 1 word which can best sum this up, it is the manager: Bong Joon Ho.
Parasite is pure Bong, and that’s to state it is many things at the same time. From his 2000 debut, Barking Dogs Never Bite, onwards, the Korean auteur has an itchy, restless head, never settling tone or subject matter, darting from dread to thriller to dystopian sci-fi into vegan monster film — sometimes in precisely the exact same movie — sucking influences from the Hollywood (Spielberg, Hitchcock) along with his native Korea (Kim Ki-young, Lee Chang-dong) across the way. His signature is his multitudes.
They’re jobless and seemingly unemployable. They slip anything free Wi-Fi their cheap telephones can select up, leave their windows open so that the road fumigators will even kill their stink- insect infestation, and watch helplessly as neighborhood drunks piss on the street over them.
They have seen . Life is tough. However, this isn’t any Ken Loach catastrophe. When an opportunity presents itself to Ki-woo, the kid, to take part in certain mild subterfuge by posing as a English-language instructor for your teenaged daughter of the wealthy Park they grab it. There appears to be no question one of them: that the Kims are a united front from the beginning, and will embark in whatever specialist bullshittery they will need to lift up themselves.
Their profoundly detached privilege makes sure that the Kim family, one-by-one, manage to swindle their way to the family house, without it seeming implausible.
Therefore the very first hour of this movie plays out like a conman caper, together with the speed and fizz of the Ocean’s Eleven. There’s a wicked joy to be had in seeing the Kims’ ingenious strategy unfurl, piece by piece: a carefully set pair of knickers here, a scratching of peach skin .
If anything, the Kims’ strategy goes too nicely, since we soon realise something must go wrong. Where will the battle come from? Certainly their fancy gambit will be foiled? Bong’s masterstroke is to take this strain and use it from usto subvert our expectations hugely, to pose unexpected challenges to his personalities and veer into various tones and genres, to turn the movie into something different altogether. Something which makes it, hard to talk about without veering into spoilers.
What we can speak about is the amazing craft on display . This really is a filmmaker who understands exactly what he is doing and why he is doing it. His camera moves along with glides with complete assurance and certainty, each single pan and dolly deliberate. It is, one of many accomplishments, a remarkably well-edited movie, the rhythms and speed directing us through his favorite themes with this kind of care that there’s not any puzzle of its own intent.
It is, basically, a movie about the haves and have-nots. At times the comment is worn on its sleeve: a single character notes the way”metaphorical” items are, possibly a self-mocking nod to the manager himself, who floods his movies with significance. Even that name is enormously instructive: the Kims, it is clear, are parasitic because the stink bugs which infest their squalid residence, leeching off the abundance of other people — but so, also, would be the Parks, a household left infantile and helpless with their own luck, not able to complete simple tasks without devoting well-intentioned servants to refine their own lives.
Baked to this subject of inequality is the ambiguity of everything. The wealthy Park family are somewhat obnoxious, but nice — however, as the Kim matriarch notes using a noxious tone,”They are nice since they are wealthy.” The bad Kim household are liars, scoundrels, and offenders, in the event that you wished to get technical about it yet they are basically just conning their way to menial working tasks. It is not precisely the type of take Danny Ocean would opt for. When there’s a villain , it is capitalism, as well as the structures which induce people into indignity, desperation and nude self-interest. With a normal tonal rollercoaster, Bong provides the movie an extraordinary bittersweet finish, providing sun-dappled hope as fast as it supplies a tangy notice of downbeat, realist cynicism, and one which compels us to face where we sit at the upstairs-downstairs riddle.
But speak of capitalist allegories and societal commentary shouldn’t detract from exactly how insanely entertaining this movie is. It’s difficult not to see it rapt and gobsmacked, your jaw permanently close to the ground. The script has been written for the theatre however, the experience feels as though it should just be had in a crowded theater, in which the audience reactions will perform importantly as anything occurring on screen. In its later, more melancholy moments, it’s nothing less than completely compelling. Parasite somehow manages to scratch each cinematic itch you’ve got and provides more you up did not know you had. Frankly, it is everything you want out of a movie. And it is one that you won’t have the ability to quit talking about.
A wonder of a movie. It seems as though Bong Joon-ho’s already outstanding career was building for this: a lush social satire that is as gloriously entertaining since it’s deeply sardonic.