Synopsis
Parasite is a South Korean film released in 2019 by director Bong Joon-ho. It captures elements of social drama, psychological thriller, and dark comedy. It gained special recognition for its take on social mobility, class disparity, and the meritocratic system. Bong Joon-ho made waves after winning the Best Picture award at the Academy for Parasite, being the first Korean film to do so. Parasite is also noted for winning an also winning the Oscar for Best Picture, marking the first time a non-English film received this award.
The film centers on Kim’s family. They comprise of Ki-taek (Song Kang-ho) the father, Chung-sook (Jang Hye-jin) the mother, Ki-jung (Park So-dam) the daughter and Choi Woo-shik the son Ki-woo. The family resides in a cramped semi-basement apartment in Seoul. They’re living hand to mouth, earn a living by folding pizza boxes for a local restaurant and stealing neighb…ish Pastry shop’s Wi-Fi. Their sprinkle of good luck comes when Ki-woo is offered tutoring job for a wealthier Park family.
Ki-woo gains the trust of the Parks and begins teaching them English using a fake university degree forged by his sister. He quickly comes up with a scheme to have the rest of his family disguised as various service workers employed by the Parks, so they will not be connected as family. He and his family all assume new roles: Ki-jung as an “art therapist” for the Parks’ son Da-song, Ki-taek as the family chauffeur, and Chung-sook who takes over the housekeeper’s position by exploiting an allergy the housekeeper has.
The Parks’ stunning modernist house, a symbol of their wealth and security, was designed by a well-known architect. They belong to the wealthy class and, although polite, are incredibly naive and out of touch with the rest of the population. Meanwhile, the Kims are the exact opposite: clever, desperate, and resourceful.
Everything appears to be going well until an old housekeeper, Moon-gwang, comes back on a rainy night, saying she left something in the basement. This begins a chain of events that disrupts the Kims’ plans. Moon-gwang, it turns out, has been hiding her husband, Geun-sae, in a secret bunker located under the Park’s house for years, sheltering him from loan sharks. The Kims learn this secret just in time to see the Parks come back early from a camping trip. Total pandemonium breaks out as the Kims along with Moon-gwang’s family try to balance their hidden lives with their hidden lives.
As the conflict deepens, the lines between the hunter and the hunted start to fade. During an extravagant garden party thrown by the Parks, years of pent up anger boils over. Geun-sae breaks out of his prison and attacks the Kims. In the melee, Ki-jung is mortally wounded. Ki-taek, furious at the smell of Geun-sae’s body, loses it and murders Mr. Park, then runs to the hidden basement.
In the aftermath, Ki-woo is concussed, and Chung-sook mourns their daughter. Ki-taek goes missing, but Ki-woo finds out that his father is living in the house’s basement and communicates Morse code through the lights. In the film’s last surreal scene, Ki-woo dreams of marrying the house’s owner and eventually buying it to liberate his father, but reality is far from that. The film concludes with the heartbreaking understanding that such dreams are nearly impossible to pursue.
Cast & Crew
Song Kang-ho as Ki-taek
A veteran of South Korean cinema, Kang-ho’s performance as Kim’s family patriarch is layered and textured. He is fully the father full of affection and also the subdued wrath that is a man rendered invisible by the world.
Choi Woo-shik as Ki-woo (Kevin)
A delusional youthful optimist who is ambition’s heady concoction, is the forgotten pressed slime of his ambition and by the world. He is also the son who brings the entire family into the the Park household.
Park So-dam as Ki-jung (Jessica)
She is the most creatively astute of the Kims, and exudes both confidence and withering candor. Her clever deadpan humor and understatement brings out the dark comedy of the film.
Jang Hye-jin as Chung-sook
As a mother, she is practical and uncompromising, which helps the family remain balanced. It is both funny and disturbing how she morphs into a housekeeper for the Park family.
Lee Sun-kyun as Mr. Park
The CEO is well-groomed and one of the most prominent figures in the industry, making him a striking character. He is friendly, however, is completely disconnected with the reality of his employees’ lives. During the movie, Mr. Park’s character develops a discreet contempt for the “smell” of the poor, which becomes one of the movie’s main emotional drivers.
Cho Yeo-jeong as Mrs. Park
As the ‘upper class’ character, she is naive and trusting of the world. Mrs. Park is obsessed with self-image which represents a lack of perception from the people of her class. The Kims, who are perceived to be down to earth, ironically, bring with them unintentional patronizing tones.
Director: Bong Joon-ho
Having earned recognition with his films Memories of Murder, The Host, and Snowpiercer, Bong Joon-ho directed Parasite and single handedly put Korean cinema in the limelight. It is masterful how in this film, he blends multiple genres and delivers deep, multi-layered social critiques.
Cinematography: Hong Kyung-pyo
The film’s visual storytelling is exceptional. The Park residence and Kim apartment are in stark contrast to the Park’s house, which is bright and open, while the Kim’s living space is dark and cramped.
Production Design: Lee Ha-jun
For the film, The Park’s house was specifically built which allowed the filmmakers to control the house’s visuals and metaphors, where stairs, levels, and light serve thematic purposes.
Music: Jung Jae-il
While the score is subtle, it is also haunting. The score balances tension and emotion and its minimalism matches the social emptiness at the center of the film’s wealth.
Awards
Parasite currently holds an 8.5/10 rating on IMDb, which is an extraordinary rating and places the film among the top film on the site. The film was rated highly by critics and audiences alike for its performance, storytelling, and thematic depth. Both critics and audiences praised the film for its deep commentary on economic disparity and the illusion of class mobility.
The film was awarded the Palme d’Or at the 2019 Cannes Film Festival, making Bong Joon-ho the first Korean director to win the award. The film also went on to sweep the 2020 Academy Awards, winning Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film. This unprecedented sweep made Parasite the first non-English language film to win Best Picture, breaking industry barriers that had long stood for decades.
Critics commended the film for its intricate structure and visual metaphors. It moves from scenes of comedy to tragedy, from heist film to horror, and back again, all the while blending together a single, tight, and coherent story. The film’s social critique is further strengthened by its use of symbols, such as the stairs and basement, and even smells.
What stood out most to the audiences was the film’s message and how universally resonant it was. Even though it was deeply rooted in Korean culture and society, the theme of class division, desperation, and inequality was relatable for other global audiences living under similar economic pressures.
Legacy and Cultural Impact
Parasite is not just a cinematic achievement, but rather a cultural phenomenon as well. Its unanticipated success in Western markets dismantled the decades-old bias against foreign language films. Bong Joon-ho’s quote, “Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films,” has since been used as a means to boost the appreciation for world cinema.
The film initiated global conversations about class structure, housing inequality, and the capitalist system’s dehumanizing impacts. It was examined by scholars, critics, and social commentators for its metaphors, character arcs, and even the architecture of the Park house. It sparked memes, essays, and academic papers, proving its depth and relevance.
In addition, Parasite widened the scope for other Korean filmmakers in global cinema and revived interest in South Korean movies. Bong Joon-ho became a household name, and the film is now required viewing for every film class.
In addition, the film’s class struggle themes are quietly complex rather than black and white. The wealthy profit without resorting to blatant evil, and the impoverished do not embody goodness. This lack of morality simplifies real-world economies, allowing the film to embody far more emotion and philosophy than its storyline offers.
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