If you haven’t watched it already, it seems that the lion’s share of moviegoers and critics would advise you to resist viewing the trailer for Parasite, and go in blind. I’m here to tell you – it doesn’t actually matter. Beguiling, deeply unsettling, and, almost unnervingly relevant to our current times, the themes and cinematic stylings elevate the production into something that has sparked a bit of life into the world of motion pictures. A NEON distribution, director and screenwriter Bong Joon Ho’s latest offering isn’t the film you expect. Until it is. And then it really isn’t.
The first shot opens on the Kims, a lower class family constantly fighting to keep its head above water in Seoul, South Korea. When a friend reveals that he’s leaving the country to study abroad, he recommends that the Kims’ son, Ki-woo, takes over his job as an English tutor for a child of the upper echelon Park clan. This quickly snowballs into the other three Kims also finding employment in the wealthy household. Daughter, Ki-jung, masquerades as an art therapist, while father, Ki-taek, plays chauffeur, and mother, Chung-sook, lands the role of housekeeper. But to successfully secure their hard-won livelihood, deception is required. Ki-woo lies about being a university student, and, while his sister’s graphic design ability is made most explicit in the forgery of a detailed transcript, she has no credentials as a degreed artist. The Kims team up in order to get Mr. Park’s previous driver fired and, in one of the most jaw-dropping scenes, former housekeeper, Moon-gwang, finds herself deposed in the most spectacular fashion. Through it all, they keep up appearances as unrelated individuals, acting only as coworkers while in front of their employers.
There’s a particular sleek, heistesque gloss that coats this first part of the film. For fans of movies like the Ocean’s series, or The Italian Job, the seductive appeal will be familiar. The Kims are ambitious, cunning, and effortlessly hustle those around them. And much like the bamboozlers in other blockbusters, the audience is given ample reason to root for their success. The family is funny and charming, creative and quick – all of this contributing to their inherent likability. The instinct to champion the underdogs, the compulsion to cheer them toward the finish line, is ever present – even if that means encouraging their underhanded maneuvers. (Especially given the fact that their targets are affable and carefree.) The Parks aren’t malicious. They aren’t pompous. They’re just fine. But their lives of excess make any sort of trickery or theft seem trivial. Why shouldn’t the Kims play Robin Hood; stealing from the rich to give to themselves? At one point, when asked about the matriarch, Ki-taek remarks, “Even though she’s rich, she’s nice.” However, he’s quickly met by his wife’s response of, “She’s nice because she’s rich.” Despite their lives of financial misfortune, the Kims clearly have the street smarts and strategic insight needed to infiltrate this new social sphere and lock down their futures. For a while, their plans are uninterrupted as they feast from the horn of plenty. But all good things must come to an end. There’s a clear moment where the tale takes a turn, and from then onward, viewers won’t know peace. The intertwined downfall of both families reveals itself in ways that are surprising and gut-wrenching. The moment you believe you know what this film is, Bong, along with co-writer, Han Jin-won, reminds you that you don’t.
Socioeconomic disparities, access to capital, environmental prejudice, proximity to power, cultural exoticism, and class solidarity are all touched on in ways that are instantly recognizable, and reminiscent of other works in Bong’s filmography, such as Okja and Snowpiercer. These gestures aren’t heavy handed or indulgent, but rather, concisely conveyed and timely. The slow burn throughout the entire film is so delectable and layered, that an immediate rewatch is almost mandatory to unravel the insidious nature of the beast. Visually, the world of Parasite is arresting, and seeks to accomplish far more than just beauty for beauty’s sake. Whether it’s the use of stairs, symmetry, or dividing lines, Bong maximizes the return on his investment, shot for shot. Instead of rehashing the story told explicitly through the script, the aesthetic narrative chooses to complement exposition through thoughtful and intentional counterbalancing. Interior design, architecture, fashion, and even the weather accomplish much in contributing to this dialogue.
The film’s critical acclaim is well-deserved. From the phenomenal performances and masterful directing, to the perfect pacing and sharp script, the movie, hopefully, marks an important shift in cinema, particularly in the United States. In an increasingly connected world, “Parasite” is one snowflake in an avalanche that could push Hollywood to not only expand its repertoire of films considered worthy of mass appeal, but also make room for works that tackle a number of important subjects often ignored by mainstream productions. If nothing else, the legacy of Parasite might be in sparking a change in Western media truly recognizing the fantastic work that has, and will continue to, emerge from Asian creatives. Bong Joon Ho’s vision is smart, lavish, and, at times, absolutely feral. The combination of ingredients make for an absolutely delicious offering – like a peach, ripe for the picking – and I can hardly wait for another bite.
