Parasite, directed by Bong Joon Ho, is a rich, often shocking, and genre-bending look at class conflict in modern Korea. Unlike many films that tackle such topics, Parasite is fairly ambivalent about its heroes/villains. More accurately, there are no heroes and the villains slide helplessly into this role rather than due to any evil intentions.
Parasite starts off as a fairly lighthearted comedy, as a familiar genre piece about con artists. Failed entrepreneur Ki-taek Kim (Song Kang-ho) lives in a bug-infested tenement with his wife Chung-sook (Chang Hyae-jin), daughter Ki-jung (Park So-dam), and son Ki-woo (Choi Woo-shik). The children are grown but, like their parents, unemployed and without prospects. The family survives by doing odd jobs such as folding boxes for a takeout pizza place but even fail at this and have their meager wages cut when the boxes aren’t folded properly.
The family’s fortunes take an upward swing when Ki-woo is recruited by a friend headed for university to tutor the daughter of an affluent family. This is meant to be a short-term assignment but the family conspires to turn it into something much bigger. Taking advantage of Ki-jung’s computer skills (and her natural talents as an actress and forger), the family sneaks its way into the household. Ki-taek becomes a drive; Ki-jung an art tutor, and Chung-sook a maid. They do this in a humorously unethical manner, getting the legitimate household servants fired and scamming the socially insecure couple, pompous CEO Mr. Park (Lee Sun-kyun) and his naive wife Yeon-kyo (Cho Yeo-jeong).
Any further discussion of the plot would amount to spoilers, so I’ll just say that Parasite veers in a very different direction from its farcical opening act. I’ll just list a few key impressions the film left me with.
Much of the film’s impact comes from imagery rather than plot developments. For example, the stark contrast between the homes of the two families. The Parks live in a modern mansion on a hill while the Kims live at the bottom of a hill (a fact that becomes important). Elevation plays a both literal and metaphorical role throughout the film.
The very title of the film is a bit of a puzzle. The title complements an earlier film of Bong’s, called The Host, which was about a sea monster. Any parasitism in the current film originates in human nature. All of the characters can be considered parasites, depending on one’s perspective. While Bong is clearly calling attention to issues such as economic inequality, his approach is far more nuanced than simply pitting the noble working class against their evil overlords. It’s more like everyone is victimized by a faceless system that fosters inequality and, ultimately, tragedy and mayhem.
It’s worth noting, and a bit disconcerting, how globally relevant the fundamental issues in Parasite are today. While the film is set in Korea, it could just as easily be the U.S. UK, France, Canada, or many other places where the gulf between economic classes is expanding.
Parasite was nominated for several Academy Awards, including Best Picture, Best Director, and Best International Feature Film. I saw Parasite at Bytowne Cinema, an independent theater in Ottawa, Ontario.