Bong Joon-ho’s Parasite (2019) is a searing social satire that transcends borders and genres, delivering a sharp critique of class inequality while weaving a gripping and unpredictable narrative. The first South Korean film to win the Palme d’Or and the Academy Award for Best Picture, Parasite masterfully blends comedy, tragedy, and suspense to create a film that is as entertaining as it is thought-provoking.
The story follows the impoverished Kim family, who scheme their way into the lives of the wealthy Park family. Ki-woo (Choi Woo-shik) is the first to infiltrate the Park household, securing a tutoring job under false pretenses. One by one, the Kims replace the Parks’ staff with themselves, concealing their familial ties and exploiting the Parks’ naivety. The dynamics between the families take a dark turn when the Kims discover a hidden secret in the Park home, leading to a series of events that escalate into chaos and violence.
At the heart of Parasite is the extraordinary ensemble cast. Song Kang-ho, a frequent collaborator of Bong Joon-ho, delivers a nuanced performance as Kim Ki-taek, the family patriarch whose quiet desperation and moral ambiguity anchor the film. Choi Woo-shik as Ki-woo and Park So-dam as his sister Ki-jung bring a mix of youthful ambition and cunning to their roles, while Jang Hye-jin’s portrayal of the resilient yet conniving matriarch adds depth to the family dynamic.
The Park family, led by Lee Sun-kyun’s Mr. Park and Cho Yeo-jeong’s Mrs. Park, are portrayed with a blend of charm and obliviousness that underscores the film’s commentary on privilege and class blindness. The contrast between the two families is stark, yet Bong’s direction ensures that neither is reduced to caricature. Instead, he paints a complex portrait of human behavior shaped by systemic inequality.
Bong Joon-ho’s direction is meticulous and inventive. The Park home, with its sleek, modern design, becomes a character in itself, its levels and spaces symbolizing the stratification of wealth and power. Cinematographer Hong Kyung-pyo captures this with precision, using framing and lighting to accentuate the divide between the Kims’ cramped semi-basement apartment and the Parks’ luxurious residence.
The film’s tone shifts effortlessly between genres, moving from sharp comedy to intense thriller to devastating tragedy without losing its coherence or impact. Bong’s ability to juggle these tonal shifts is a testament to his mastery as a storyteller. The script, co-written by Bong and Han Jin-won, is both tightly constructed and richly layered, brimming with symbolism and social commentary.
Parasite is also notable for its use of space and geography. The physical separation between the Kims and the Parks mirrors the social chasm that divides them, with the former literally climbing upward to reach the latter’s world. The torrential rain sequence, which juxtaposes the Parks’ serene view of nature with the Kims’ devastating flood, is a striking visual metaphor for the disparities that the film explores.
Thematically, Parasite delves into the consequences of systemic inequality, exploring how economic disparity shapes relationships, aspirations, and identities. The film’s title is itself a loaded metaphor, inviting viewers to question who the real parasites are: the poor who exploit the wealthy, or the wealthy who sustain their privilege at the expense of others.
Revisiting Parasite in 2025, its relevance feels even more urgent. The film’s critique of capitalism and social stratification resonates across cultures and eras, making it a universal story that speaks to deeply entrenched issues. Its ability to entertain while provoking thought ensures its place as a modern masterpiece.
Parasite is a film that defies easy categorization, blending its diverse elements into a cohesive and unforgettable experience. With its extraordinary performances, masterful direction, and profound themes, it continues to challenge, inspire, and captivate audiences around the world.
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