Director: Bong Joon-ho
Starring: Kang-ho Song, Sun-kyun Lee, Yeo-jeong Jo, Woo-sik Choi, Park So-dam, Jeong-eun Lee, Hye-jin Jang, Ji-so Jung
Words – Rhiannon Topham
Rarely does a film defy all cinematic conventions and pull it off flawlessly. Even more rare is for a film to please so many different genres, yet seem almost completely genre-less.
There is so much to say about Parasite, none of which should be discussed openly in a one-way format such as this: it is highly recommended going into this film without any prior knowledge of what it is or where it will go. So how to go about describing this artistic feat, aside from the obvious statements that it is undeniably Bong Joon Ho’s masterpiece, and easily one of the best films in decades?
Let’s start with painting as simple a picture as possible. Whereas Bong’s previous films, the irreverent Okja and dystopian future incision Snowpiercer, focussed on alternative realities, the social skewering in Parasite is distinctly tangible.
The Kim family live in a small semi-basement and all struggle to hold down employment. They rush around their squalid home trying to connect to free WiFi and leave their windows open when the fumigators spray the streets to try and clear the stink-bugs moving in.
One day, the Kims are visited by son Ki-woo’s friend Min-hyuk, who gifts them a mysterious rock which is said to bring wealth to those who possess it. When Min-hyuk suggests Kim-woo pretend to be a university student and take over his job tutoring the daughter of the wealthy Park family, what follows is an opportunistic snowballing plot devised by the Kims which is equal parts genius and dangerous, rational and absurd.
By exploiting the credulous Park matriarch, using a creative variety of props from underpants to peaches, the Kims find a way for each of them to secure work within the concrete walls of the Park’s modernist mansion, a risky endeavour which involves usurping the family’s loyal housekeeper.
After all of the Kim clan have secured their posts in the Park home, the latter depart for a camping trip to celebrate their son’s birthday. While they’re away, the Kim’s spend the night in the luxury of their employers’ home, enjoying the kind of food and beverages they would seldom have access to back in their semi-basement. This marks the transition into the film’s second act; the Kim’s gestation period has been successful, remarkably so, and the rug is about to get violently pulled from under them.
Bong’s commitment to the nuances of social reality allows Parasite to not only traverse the audience’s constantly changing expectations (are the rich going to use their wealth and resources to outsmart the poor? Are the Kims going to overthrow the house?) but also shift gears from jaunty comedy to a white-knuckle thriller as faultlessly as Ki-taek turning corners on a busy road, smooth and confident as the ignorant but judgemental Mr Park looks on haughtily from the backseat.
As the story unravels and your jaw gradually makes its way to the floor, you quickly come to realise that it’s hard to distinguish who the ‘bad guys’ are here—an intentional move which speaks to the title of the film. There are the haves, basking in their fortune in the comfort of their sun-lit houses in the hills, and the have nots, confined to chthonic basements and subservience to the thankless demands of their employers.
Everything here is ‘metaphorical’, to steal a frequently recurring term from the film, but it is also everything you could ever want from a film: suspenseful, beautiful, at times hilarious, and always compelling.