Bong Joon-ho (writer and director of The Host, Snowpiercer and Okja) brings his work home to Korea in this urgent, uncomfortable, pitch-black comedy fairytale. Meet the Park Family: the
Bong Joon-ho (writer and director of The Host, Snowpiercer and Okja) brings his work home to Korea in this urgent, uncomfortable, pitch-black comedy fairytale. Meet the Park Family: the picture of aspirational wealth. And the Kim Family: rich in street smarts but not much else. Be it chance or fate, these two houses are brought together and the Kims sense a golden opportunity. Masterminded by college-aged Ki-woo, the Kim children expediently install themselves as tutor and art therapist to the Parks. Soon, a symbiotic relationship forms between the two families. The Kims provide “indispensable” luxury services while the Parks obliviously bankroll their entire household. When a parasitic interloper threatens the Kims’ newfound comfort, a savage, underhanded battle for dominance breaks out, threatening to destroy the fragile ecosystem between the Kims and the Parks.
Now that it’s won the Palme d’Or at the 2019 Cannes Film Festival, the public debate about Parasite will not be about whether it is or isn’t a great movie, but about whether it is or isn’t a perfect movie. Good luck arguing against its brilliant, inimitable, all-encompassing craftsmanship. The film is laugh-out-loud funny, an astute blend of humanity and absurdity, thrilling until its final depraved moments, a pristinely shot modern architectural feast for the eyes, a razor-sharp socio-economic critique, and a cryptic operatic drama. Unclassifiable, as Joon-ho’s films usually are, Parasite is a complete and instant classic.
In Korean with English subtitles
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