AFTER recently releasing the well-received Snowpiercer and Okja, director Bong Joon-ho’s latest, Parasite, proves to be his masterpiece. The sheer quality of the film will plaster a smile on your face from start to finish. Brilliant performances with subtle facial nuance, expert cinematography, and biting social commentary make Parasite the must-see film of 2019.
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Parasite follows the Kim family and their steady infestation of the Park household. One by one, each family member finds their niche in the mansion and begins to experience the lifestyle of the other half. Naturally, class-based tension begins to arise and ultimately comes to a head.
Even with subtitles (Korean dialogue), which sometimes take away from actors’ vocal performances for the foreign crowd (they absolutely do not here), the facial expressions and nuance on display alone make the incredible acting clear to see. Kang-ho Song as Kim Ki-taek and So-dam Park as Kim Ki-jung particularly stand out in this regard. All cast members bring their characters to life so flawlessly and naturally that they immediately immerse you in their world. This total immersion allows Bong Joon-ho to introduce narrative elements later on that would not have the same striking imagery or effect otherwise.
Bong Joon-ho beautifully frames the shots of Parasite throughout. One flash frame in particular proves to be truly mesmerizing, but to go into more detail would risk spoilers. An easy example of the aforementioned terrific cinematography comes in a scene depicting the Kim family descending back down below to their humble dwelling. Each shot sinking lower into the abyss adds to the scene’s sense of purpose and strengthens the already gripping narrative. Bong Joon-ho enchants the entirety of Parasite with this level of filmmaking, which makes every scene a pleasure to watch.
Perhaps most impressively, some of the largest emotional notes come from objects in frame that never get directly addressed. These little details flesh out Parasite’s world and make the Kim family’s situation even more lamentable.
Beyond its performances and technical beauty, Parasite offers commentary on the innate class divides found in society. As the Park family patriarch, Park Dong-ik, often says, the lesser know not to cross the line. However, with the destitute Kims now inhabiting the same space, they have shattered that barrier. The Parks recognize the value the Kims bring them and the Kims recognize the Parks have done nothing wrong. Yet, the Kims grow envious of the Parks’ possessions while the Parks look down upon the Kims’ sewage-esque stench. These tensions grow and bubble beneath the surface and illustrate even with two families existing in a symbiotic relationship, the very nature of their two worlds will drive them apart.
As the film goes on, even the title becomes less defined. Of course it refers to the Kims at the beginning, who infest the home like cockroaches, but by the end you cannot help but look at the Parks in a different light. After all, they have taken advantage of the Kims’ labor all this time while viewing the family as beneath themselves. The Park matriarch, Park Yeon-kyo, uses her husband for his money and connections while he in turn uses her for sex. The dynamics at play between and within the families have you questioning who the real parasite is, and who simply exists in a peaceful symbiotic state.
The conclusion of Parasite initially seems poised to be incredibly cliche, but again Bong Joon-ho impresses and delivers a final striking message on plans of upward mobility and the role of posing in society.
Director Bong Joon-ho delivers the must-see movie of 2019 with Parasite, a film that both startles and delights. Impeccable performances and cinematography, coupled with messages on class divides and their place in society hook you into the world of Parasite from the very beginning. By the end the scenery may be shockingly unrecognizable, but the film has made its point.
