Bong Joon-ho leads his unerring track record to his new high in such a flamboyant confidence with Parasite. This south-Korean film is a peculiar and curious revelation of nincompoop lives of people deprived, found in modern day urban metropole. Their struggle to uptick the disorder, the unspoken disgust and the social influx of their own symptoms, sucked to the udders like leeches are strapped into a full display proactive black comedy.
Bong’s meteoric rise as a filmmaker from his cult classic Memories of Murder, established the inefficiencies and the powerlessness of policing in the closed regime. His other films are The Host, created the beasty fantasises. Followed by International collaboration with Snowpiercer about the austerely dystopian theme and Okja, produced by Netflix, reflects on the brutal industrialization and the consequences.
All his films takes a realistic look at the world around us. The striking brilliance about the issues which are a constant thread winding its way through political and societal norms, nurtured by the deadly fuel imposed of ignorance clearly articulated by bending the medium of genre to his own interpretation and seriously, Parasite, stands out and will remain his finest work till date. For sure, he has many more to come.
Bong Joon-ho himself has penned the story and co-written with Han Jin-won. The film stars Bong’s favourite Song Kang-ho as the patriarch of the poor household. Parasite is the first Korean film to win the Palme d’Or in Cannes, and the first film to do so with a unanimous vote since 2013’s Blue Is the Warmest Colour. The movie also won the Golden Globe Awards. Besides, officially nominated as the South Korean entry at the 92nd Academy Awards. This is quite special among American audience for Bong, as it’s his second selection to the Oscars after 2009’s Mother.
The film opens up in the incommodious basement house with the slit facing the street and man peeing around their window. Song Kang-ho plays Ki-taek, a sloth, unemployed man who lives with his wife, Chung-sook, his canny contemptuous, twentysomething daughter, Ki-jung (Park So-dam), and son Ki-woo (Choi Woo-sik), working in his temporary job struggling to make ends meet.
Eventually one day, Ki-woo’s college friend introduces him to an affluent entrepreneur Park’s family, living in a palatial luxury villa with two kids. Da-song, a young notorious whacky boy and his elder sister Da-hye in her teens, in need of tutor assistant. Faking his certificate, Ki-woo gets hired by Park’s to teach English. The likeable Ki-woo’s obedience attract Park’s in a short span. Ki-woo unassuming lady-luck, Da-hye, his student gets an intrinsic crush on him and engage little sexual fledges together as hungry cubs.
Ki-woo sequentially brings his sister, guise her unrelated, as the sophisticated art therapist to teach Park’s young son Da-song. Ki-woo scheme ladies panties in the rear of Park’s car and during his drive the owner observes and driver who is abruptly made to quit because of sexual infraction. Thus brings his father Ki-taek as an unrelated person to the role of the driver. So goes the same with the loyal live-in housekeeper Moon-gwang is asked to leave claiming the symptom of tuberculosis, replacing his mother Chung-sook.
The four slyboots groove downright the lifestyles of Park’s inner circle. Parasite, visual peek takes you through the hilarious manoeuvres, cutting across the vast class difference of two families. with deep, deadly and domestic vice as Ki-taek family occupies the villa, eat, drink and gulp having fun, when Park’s on vacation to the camping trip. So returns Moon-gwang, the erstwhile housekeeper that night to the villa, claiming that she left few of her stuff in the basement of the house.
Chung-sook permits her inside the house. Moon-gwang walks down the basement stairs and opens the key to the secret bunker to meet her husband Gun-sae, hidden inside for years from loan sharks. She ask Chung to keep the secret and suddenly the family stumble into Moon’s view. It’s that very edge of event, Moon-gwang set out to expose their fraud.
The Parks abruptly call Chung- sook and inform that the gushing rains has ruined the trip and are on the way heading home shorty. Following an unassuming throttle, where Moon-gwang’s attempt to escape, leads to fight and Ki’s fists both the husband and wife Gun-sae and Moon-gwang into the bunker. In the counter of refusal from Moon, she is again pushed down the stairs, suffering an fateful head injury and howbeit, are locked inside the bunker.
Soon the Parks family return back home. The three of Ki’s escape unnoticed in the heavy floods of the night, that sweeps the city. The same night, Mrs Park cite Chung that her son was traumatized by seeing a ghost’ loomed from the basement. The tired Mr. Park lay down on the couch complains about the bad odour to his wife. The rains deters, only to find Ki’s basement home is flooded, and they spend the night in the local gym, along with many of the city dwellers driven out by the floods.
The next day, Park’s organise the birthday party for their son and the guests are assembled in the backyard lawn. So in a hysterical turn of events, Ki-woo in his charmed vibe gets to the bunker. He’s waylaid by Gun-sae and hits him on the head with the scholars rock. Gun-sae further runs amok around the house and rush into the lawn, stabbing Ki-jung to her chest. The advent of the Gun-sae presence triggers Da-song’s recollection of ghost causes an immediate seizure. Ki-taek run to help his daughter as Park scream towards Ki to save his son. Ki-taek throws him the car keys, which slips near his fighting wife, who apparently kill Gun-sae with the meat skewer. Park straddle hot and cold to the smell from Gun-sae’s body, retrieves the keys. Ki-taek witness Park’s backlash to the smell, brutally stabs Mr. Park and absconds.
Thereafter, Ki-woo recovers from coma and is sentenced along with his mother Chung-sook to probation for deceit. The whereabouts of Ki-taek is little known, and wanted for Park’s murder. As the time go-bye, the Park’s villa is sold and Ki-woo is released and on his walk around one day, notice a flicker of light outside the villa.
The movie is electric filled vengeance of anger and gut-gripping louts going to look tame to what is waiting for you. The parasite in every flea, leech and hookworm in all creation feast upon the cirrus in you.
Won’t that be a relief. Bong Jong ho, has it saying that any Parasite is healthier than the one provoked by a hoarded rage. True to the core. Isn’t it!.