Mansions, stairs, mirrored families, underground horrors – it is curious that throughout 2019 we saw such a range of films addressing the recurring theme of class inequality, and similar visual metaphors emerging within them. None of them have been particularly subtle in depicting capitalism on a microcosmic scale, but sometimes elusiveness is overrated. As ‘Parasite’ has proven, it is entirely possible to have both complex social commentary and a plot that unfolds in a mostly straightforward manner. This isn’t to suggest that there is nothing to catch on a second viewing – in fact, this might be one of the most rewatchable films of the year – but ‘Parasite’ blurs the lines between popcorn entertainment and art film in so many unexpected and fun ways.
‘Parasite’ follows the schemes of the impoverished Kim family conning their way into the employment of the much wealthier Park family, and little else can be said about its narrative without spoiling a string of major developments. The titular parasite is perhaps one of the most difficult parts of the film to pin down to a singular explanation. For most of the first act, one might think it is clear that the Kims are the parasites, since they are sucking wealth and resources from their employers, but it isn’t quite that simple. Determining what exactly the title refers to becomes more complicated the further along the film progresses, as it asks us a number of questions regarding the economic system we live in. Which demographics get taken advantage of in our society? In what ways and to what extent does it impact them? Who are the people that take advantage of others? Are they justified in doing so? To whom are we directing our anger, and who should we be directing it towards? What does it take to break the system? Is it even worth attempting to do so?
These questions are made even harder to answer when one considers that the affluent characters in ‘Parasite’ aren’t particularly bad people. While they certainly present obstacles and frequently test our patience, they are never made out to be the villains of the piece, and this is to the film’s credit. ‘Parasite’ dwells in a space of moral ambiguity, where an action as innocent as a poorly timed sniff has insidious implications, or where the vilest act comes from a place of righteous anger.
In ‘Parasite’, wealth is a buffer between individuals and adversity, and while Bong Joon-Ho initially mines this for comedy it gradually evolves into a much darker statement on how few people truly benefit in a capitalist social structure. As a result of their sheltered lives, the Parks are easily manipulated and fail to see the world as it is beyond the walls of their mansion. They outsource their domestic duties to the Kims, who appear to be sharper and more diligent, making the wealth disparity between the two families seem even more arbitrary.
Throughout the film Bong Joon-ho moves the camera up and down flights of stairs, dimly illuminating the subterranean rooms with dirty, artificial lights. These are the places that keep the lower classes out of mind and out of sight, and from where they struggle amongst themselves to escape.
Yang Jin-mo’s tightly paced editing balances our focus between separate groups of people, locations, and actions taking place simultaneously, contrasting the lifestyles of each family even further. It also allows each actor within this ensemble cast to have several shining moments, a difficult feat for a film that could have spread itself too thinly in less skilled hands.
Though the cast standouts are Song Kang-ho as Kim Ki-taek, the father of the Kim family, and Park So-dam as Kim Ki-jeong, his daughter, it is the dynamics that emerge from within ensemble as a whole that makes ‘Parasite’ as funny, tense, and devastating as it is. And of course, the way each production element of the piece binds together can only be attributed to Bong Joon-ho’s masterful direction. Though he plays with such a broad range of film styles and ideas about social inequality, none of them are unrefined or underdeveloped, and each brings its own distinct flavour to a movie that never stops evolving.
The chances of ‘Parasite’ winning Best Picture are slim, but the possibility isn’t completely ruled out. On one hand, there has historically been a prejudicial attitude against foreign films in the Academy, typified by the disappointing loss that ‘Roma’ suffered at the Oscars last year. On the other, every so often the Academy does get it right, with the success of ‘Moonlight’ in 2017 being particularly notable. Though it has oddly missed out on acting nominations, ‘Parasite’ isn’t exactly lacking in other categories. It has Best International Feature Film locked down, and though he is up against tough competition, Bong Joon-ho may even have a fair shot at winning Best Director. Of all this year’s Best Picture nominees, ‘Parasite’ will likely be the one we will still be talking about long into the future. We will just have to wait and see whether the Academy recognises this.
