Parasite follows a poor but clever family’s attempt to climb up the social ladder by cozying up to a wealthy family.
One-sentence review: Parasite is unlike any movie that’s existed — at the same time funny, terrifying, thrilling, and relevant — and one of the best movies of the year.
Details: ? Bong Joon-ho // ⏳ 132 minutes // ? 2019
The cast: Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam
Where to watch Parasite: In theaters now.
It’s taken me a while to really crack how to talk about Parasite. There’s so much to unpack and so much I loved that it seemed nearly impossible to do without having a drawn-out, rambling mess. But then, director Bong Joon-ho did the work for me.
“I tried to express a sentiment specific to Korean culture, all the responses from different audiences were pretty much the same. Essentially we all live in the same country… called capitalism.”
I think what’s so interesting about that quote is that he explains that he didn’t intend to make a social satire that could be universally related to. He’s as surprised by the response to the movie as anyone else. Yet, Parasite feels like a movie that’s made for the masses. Still, at its core, it’s a bizarre, pitch-black arthouse comedy set in South Korea. Which is exactly why it’s one of the best movies of the year.
A plot better shrouded in mystery
I’m going to be careful in describing the plot to Parasite because part of the effectiveness is the surprise. Either way, you should go in mostly blind. Calling it one of the best movies of the year should be reason enough to see it. If you still need to be convinced, you’ve been warned.
Parasite revolves around two families. The Kim family, father Ki-taek (the great Song Kang-ho), mother Chung-sook (Jang Hye-jin), and kids Ki-woo (Choi Woo-shik) and Ki-jeong (Park So-dam), is just barely scraping by by folding pizza boxes for the local pizza joint and leeching off the WiFi of a nearby coffee shop.
So, when the particularly clever Ki-woo gets the chance to tutor Da-hye (Jung Ji-so), the daughter of wealthy tech exec Dong-ik and his high-strung wife Yeon-gyo (Cho Yeo-jeong), he hatches up a way to get his entire family in on his good fortune by lying and conniving their way into various roles working for the family.
The situation requires much grifting and maneuvering, which of course leads to some hilarious slapstick moments and incredible acts of criminal malice. But things take a turn. That turn is when Parasite goes from a crowd-pleasing criminal romp to a deeper take on the very fabric of our society. It’s a wonder that Joon-ho was able to craft something so complex, rich with meaning, and filled with wonderfully off-kilter characters and performances, while still being entertaining, thrilling, and, at parts, terrifying.
Constructing his greatest movie yet
Unlike his last two movies — Snowpiercer and Okja — Parasite very much takes place in our world. Perhaps a slightly heightened version of it, but ours nonetheless. Mixing that with his usual dark humor and oddly specific characters make for an experience like no other. It allows him to zig when we expect him to zag. Knowing each character’s true feelings and intentions is impossible, and that’s where he wants us.
Instead, he builds in clues everywhere else. In the dialogue, the production design (all the sets were built for the film), and the carefully crafted shots. Like all the best directors, no scene or camera movement or line is wasted. Everything matters. And that is the sign of a masterpiece.
Parasite is so indescribable that I’m having a tough time… well, describing it. Particularly what makes it a near-perfect film. But I always come back to that quote from Director Bong and how this is a universal story. The final sequence is a universal feeling. As wild as the ride is, it’s comforting knowing that in some way we’re all on the same page.
Hey, I'm Karl, founder and film critic at Smash Cut. I started Smash Cut in 2014 to share my love of movies and give a perspective I haven't yet seen represented. I'm also an editor at The New York Times, a Rotten Tomatoes-approved critic, and a member of the Online Film Critics Society.