Parasite is the latest from award-winning South Korean filmmaker Bong Joon-ho (Snowpiercer, The Host, Okja) and it won the prestigious Palm D’or at the Cannes Film Festival. The filmmaker has never settled down in any genre and often goes for broke when it comes to embracing whatever genre he is dabbling in and then subverting, accelerating, and broadening that territory to show an audience what a master can do with these storytelling parameters. No movie under Bong Joon-ho’s guidance is ever limited by its genre. Needless to say, I’ve been highly anticipating Parasite, even more so since the critics started bandying about terms like “masterpiece.” Simply put, Parasite is a miraculous movie.
We follow the Kim family who live in a scummy basement apartment on a filthy street known for public urination. They scam free wi-fi off their neighbor and badly fold pizza boxes for little money. They’re barely hanging by on the outer edges of society when opportunity comes knocking. A rich family, the Parks, is in need of a new English tutor for their teenage daughter, and Ki-woo Kim (Choi Woo-sik) has the connection. He will pose as a college-educated English teacher, recommended from his friend, the departing tutor. He gets the job and sees further opportunity, eventually scheming to get each member of his family hired; sister Ki-jung Kim (Park So-dam) as an art therapist for the Park’s troubled son, father Ki-taek Kim (Song Kang-ho) as the personal driver to the family, and mother Shung-sook Kim (Jang Hye-jin) as the housekeeper and personal assistant for the family. The Kim family gains further leverage as they worm their way inside this house, but there are secrets that will force them to readjust how far they are willing to go to service this bourgeois family and keep their good lies rolling.
Parasite just unfurls with such natural ease, building and developing outward, building its characters, their problems and deceptions, and then, like that, it effortlessly turns gears toward another tone, and you weren’t even aware it was happening until after the fact. Bong Joon-ho’s film is so exact and impeccable and calculated that the pieces are move in tandem like a well-oiled machine. The synchronicity is so amazing that I often had to acknowledge how effectively the movie had surprised or satisfied me. There isn’t a wasted moment in the 130 minutes here, which begins as a fun con game between one family of shady grifters working their way inside a rich family’s trust. From there, the movie gets even darker, more mysterious, outlandish, and even more mournful and delightful. There are moments of slapstick comedy that had me howling, divine sequences of tension that felt ready to explode, and regular emotional punches to the system that reminded you that despite everything these are still people capable of great suffering and great feeling. Parasite is a rare movie that works on near every level, each facet of filmmaking operating at such precision that it blends together to create a masterwork of tone and tenor that is universally accessible, brimming with menace and glee.
There’s a simple pleasure to be had watching a con artist at play, so there’s even more amusement when we’re watching a family of con artists all spinning lies in tandem. The process of escalation is so clean and believable in the world’s universe, with the first family member using their position of influence to manipulative the family into hiring the next family member, even if that means scheming to get rid of the Park family servant already occupying that desired position. The Park family matriarch is all about personal recommendations and using a tight circle of trust; however, the Kim family exploits the obvious loophole of what if the initial link in that chain is untrustworthy him or herself? Initially I thought the movie was going to be watching this one family worm their way into the lives of the rich and powerful and take over, and while that is true to a certain extent, the movie is thankfully even more than that. Still, the con aspect alone is highly entertaining and so naturally plotted, with each new addition feeling organic from the last. There are natural complications that provide new challenges for the family of con artists to maintain their shifting covers and having to think on their feet, and there isn’t a moment relating to these antics where Parasite is not completely compelling and darkly funny even as it veers into extremes.
If you’re thinking that the Kim family is the obvious target of the movie’s parasitic titular allusion, slow down, my friend. While the Kim family is more obvious about their deceptions, the Park family too is filled with the deception of civility, kindness, and graciousness. At first, we laugh at them because of a general naivete that allows the Kims to flourish. As the Kims successfully roust different servants, they are routinely dismissed without much thought. Some of these people have been with the family for years and otherwise have spotless records, but all it takes is one whiff of impropriety and the Parks are already scrambling to cut them loose, usually very unceremoniously and immediately, with the misplaced idea that this will somehow be the “nice” and “respectful” way of handling a dismissal. They’re so quick to turn on people they feel are disloyal or incompetent, but really, it’s the disloyal aspect, that they can be manipulated so easily by the Kim family’s suggestions and assertions. Never once do Mr. and Mrs. Park ask for their servants’ side of the story; they accept the accusations with minimal evidence are gung-ho about removing their formally trusted help as if they have been waiting for these moments.
The movie becomes a parable of exploitation and the consequences of avarice, and I’m going to do my best to dance around some significant spoilers that reshape the film in its second half. At one point the Kims have all made themselves at home in the luxury of the Park estate while the family is away on a camping trip. It’s carefree wish fulfillment, lapping in the excess, and then over a drunken family dinner, Mrs. Kim says that if she had this kind of money that she would be as nice as Mrs. Park (appears). For her, money is like an iron and irons out all the problems of life, and as a family that has constantly been hustling for their next dollar, to be free of cares and worries would be the ultimate luxury. However, there is naturally more to this estate and the Park family, and the movie takes some dark turns into a battle over status and how far people will go to protect what they feel belongs to them. This is acted out in very personal ways and also in larger metaphorical waves, which adds to the overall class warfare satire. What starts off as a spiky little con comedy becomes something deeper and more challenging, expanding its targets to indict everyone jockeying for position in a system that seems corrupted to a fault.
Even as the Kim family is scheming and conniving, there are still moments that remind you that they aren’t these smooth, amoral con men of the movies and are real human beings with real feelings and real insecurities. There’s one moment Mr. Kim overhears his boss casually talking about him, and it’s very complimentary except for one admission. Apparently, Mr. Kim has an odor to him that the rich man finds to be rather unpleasant (he describes it like an old radish). No matter the suits he puts on, no matter the politeness and charm he manifests, no matter his skills when it comes to being a dutiful driver, no matter the gaps that Mr. Kim feels he is surpassing, there will always be something innate to him that stops him from being accepted and integrated in this cherished, cordoned-off land of the rich. His very smell is offensive to the noses of the rich, and this is something so personal, so nasty, that it genuinely wounds the man and we feel for him. Bong Joon-ho asks his audience to embrace all sorts of uncomfortable positions, taking characters you found despicable and asking to see them as real human beings capable of great loss and shame. It stops the movie from feeling like it’s treading into cartoon territory even as its violence and physical comedy ramps up in the second half. It never loses a sense of its soul.
Ki-woo Kim asks his father, after several setbacks, what their plan is next, how they will persevere against the latest setback. Mr. Kim answers that his trick is to never have a plan, because plans will inevitably fail. This is a nice character moment but also an insight into a perspective that leads to what I would argue is the emotional climax of the movie, where Ki-woo pledges to save someone through an elaborate and years-in-the-making plan. In that moment, is he rejecting his father’s philosophy and driving forward on what will be at minimum years of hard work to reach his goal, which is motivated through reclamation and salvation rather than personal gain? Or is the very fact that he is committing such an elaborate plan an act of folly he knows will never materialize because that is the nature of plans? I love that the film leaves you, the viewer, to determine whether this assertion is optimistic or pessimistic and how that paints the film’s message.
From a technical standpoint, the movie is another showcase of how Bong Joon-ho is brilliant at visually communicating his wonderful stories. The editing is so tightly precise to maximize tension and comedy, and sometimes both simultaneously. The photography is gorgeously composed with the use of space in the frame excellently communicating character relationships. The geography of the home is nicely utilized to ratchet up the tension of escaping around corners and hiding around furniture. There are moments that just made me want to applaud the filmmakers for their top-level craft.
Parasite is an effortlessly impressive movie that blends tones, insights, and entertainment to create one of the more unique and pleasing film experiences of the year. Bong Joon-ho once again shown himself to be a masterclass filmmaker who can tackle just about any subject and any genre and make it sing. I’d advise to avoid specific spoilers to maintain the surprise factor; however, this movie is so well executed, so astonishingly developed with precision and attention given to each of the characters and their individual whims and problems, that even knowing every single plot beat in this movie will not diminish the enjoyment factor. That’s because Parasite is a rare movie that is so sumptuously put together, so seamlessly calibrated, that to watch the movie is to simply sit in awe of how talented the filmmakers are at weaving their tale. Parasite is definitely one of the best films of 2019 and worth tracking down where able.
Nate’s Grade: A