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The richest above, we, the common and normal people here below, and even more unfortunate, lower-class people, are left way more below, that's the reality that Parasite tries to make us realize that exists, that there's a wide, huge abyss between social classes divided by their economic situation that sometimes can be bigger and heavier than we might think, and it's especially a game-changer for those who are under the line that keeps the fortunate one from the not so lucky others.
While we remember his Snowpiercer sci-fi dystopia, the various compartments of a futuristic train in a post-apocalyptic snow world that represents the various social classes, Bong Joon-ho now takes his class struggle, back to the Korean metropolis from the south of Seoul in Parasite, those who live in the rich neighborhoods of the hills, when it rains, the rain filters the dirt from the air and they breathe better. Meanwhile, those who live in poverty fight for their simple survival or at least for their last belongings. Joon-ho recreates many disturbing sequences but full of mastery about the perversities of prosperity, and yet, Parasite is not a social drama, but an extraordinary tragicomedy, filmed in an elegant way with friction to the absurd, but blatantly entertaining.
The "parasites" of the title are Ki-tae (Kang-ho Song), his wife Chung-sook (Hye Jin Chang) and their teenage children Ki-woo (Woo-sik Choi) and Kim-Jung (So-dam park), which are maintained with the miserable payment of putting together pizza boxes. All of them live from other people, for example, performing the worst possible maneuvers in their apartment to get free Wi-Fi. Or they simply leave the window open while people are spraying insecticide on the street, to kill the insects in their home. Unexpectedly, Ki-woo's opportunity opens when the daughter of the rich businessman Mr. Park (Sun-Kyun Lee) and his wife Yeon-Kyo (Yeo-Jeong Cho).) needs to hire someone to tutor her in the English language. Now that he has one foot in the door of the luxurious mansion, Ki-woo, in the style of an experienced scammer, is making sure that all his family members get a job there. But that is only the first step.
Parasite is a brightly written suspense-satirical comedy, which by the way doesn't feel "smaller" or "more intimate" than the previous blockbusters of Joon-ho Snowpiercer and Okja. Cinematographer Kyung-Pyo Hong (The Wailing, Burning) captures the rooms of the rich modern family home in grand widescreen settings, which gives the film an epic look despite its spatial limitations.
Joon-ho draws the members of the Park family as polite, kind, friendly and honest people. Joon-ho does not make it easy to discredit the rich as the good. But there are such small but important moments, such as the slightly outrageous comment about the smell of the employees, that, again and again, illustrates what the worlds are between the two families. And Joon-ho certainly doesn't hide which side his audience should be when things get tough.
Bong Joon-ho does not disappoint and offers a brilliant staging of a tragic and bitter tragicomedy with enormous social explosive power. Showing again in a very sophisticated way that Bong Joon-ho has a very good ability to match the author's classic cinema with genre films to create social criticism that often hits you suddenly and head-on. Here, the film connects with other works and film authors who also, although not so elegantly, treat the same themes.
What ultimately helps Parasite shine is the fact that Bong Joon-ho treated all his characters in a dignified manner and filled them with sympathy. It is easy to point the finger at one, whether the rich or the poor. The fact that the system finally causes capitalism to cause many people without values out of poverty is an important part of its influence. The film is not interested in black and white. He wants to show the intermediate colors until they finally merge into a bloody red.