The fun of the beginning of the film comes from watching Ki-woo and the rest of the family infiltrate the Park house as individual workers pretending to only know each other through vague networks: Ki-jung (Park So-dam) becomes an art therapist to the young boy Da-song, Chung-sook the mother (Jang Hye-jin) as the Park’s housekeeper, and Ki-taek (Song Kang-ho) the father as their driver. They’re scrabbling to survive, but catch a lucky break when Ki-woo scores a job tutoring the daughter of the wealthy Park family, Da-hae.
#Parasite city all deaths free#
They let the smoke from the public fumigation into their apartment for some free disinfectant. In the opening scene, the family son Ki-woo (Choi Woo-sik) hunts for a Wi-Fi signal to leech off while the rest of his family folds pizza boxes for cash. Half-basements are distinctively Korean spaces in urban centers like Seoul, and while the Kim house is firmly below ground, it still “wants to believe it’s above the ground.” Their home is an architectural purgatory that just meets the threshold of acceptable living and a fitting reflection of their psychological states: mean, but still hopeful.
#Parasite city all deaths movie#
The movie starts in the half-basement apartment of the Kim family, with windows that barely peer above the ground. Just as he called Snowpiercer - his film about class revolution set in a dystopia - his “hallway movie,” he has called Parasite his “stairway movie.” It is an upstairs-downstairs film that explores every available rung on the ladder of class aspirationalism. Parasite, Bong’s latest, gut-twisting, Cannes Award–winning film, is no different. As with many of his films, Bong Joon-ho has his eye on the superstructure that binds society together and continues to grind down the bones of its protagonists long after the final frame. Despite the unspeakable horrors each character has witnessed, the world still spins, impassive and unmoved by the preceding events. The world appears unchanged, but they are no longer the same.
#Parasite city all deaths serial#
We are republishing the piece ahead of the 2020 Academy Awards, during which Parasite will compete in the Best Picture field, among other categories.īong Joon-ho movies tend to end where they begin: The detective in Memories of Murder returns to the ditch where he discovers one of the serial killer’s first victims the titular mother in Mother dances, her arms swaying like wheatgrass the little girl Mija returns to the countryside after saving her pet from a slaughterhouse in Okja.
This article was originally published in 2019.
The director explains his coda: “I thought it was being real and honest with the audience.”
0 kommentar(er)
