Parasite ★★★½

actually, after watching parasite numerous times by now i decided that it only deserved 3, 1/2 stars and for the most part the love i have for this film mostly devolves from the overwhelming personal love i have for ki-jung as a character

parasite puts a prodigious role in all the narratives in which korean films have had a class analysis as one of the main features of korean cinema since at least the start of the new wave, without ruling class favoured affectations but more of a deformation of concrete class analysis into rank abstract sophistry

however, class has never been an identity and not designated by intuitive structures, even if many of those facets take place through positioning individualism on a foundational stage. class is produced in practice by common material interests in the predisposed conditions of social reproduction. but what I like the most about Parasite's class analysis is taking into consideration the array of material interests produced by the distribution of capital and doesn't engage by mobilizing a set of stereotypes as pretense for some psycho-analysed jargon although idealism, bad crude cynisism, methodological individualism are present thematics in the film with its varied instances and moments in several scenes in this film that adds a zest of compliance between the audience and the protagonists.


what one should retain from this film and the protagonist family, is this question: what the psychological cure for economic desperation because of social abandonment is? surely you could say it's delinquency for some, as a working class inclination for most? but I wonder how many are on the verge, striving to keep their dignity with all they have and with all they have left, the shell of a dignity in which they have been left to rot. they are those from whom life gave and left with little by little, hemorrhaging slowly and quietly and how many resort to sacrifices, immediate, medium or long term when the agony becomes unendurable? nobody has counted them. they are not a statistic, and there is no statistics of despair, who are the perpetrators? there are many and they are lost in the abstruse of political economy and its deceiving spectacle. hence the meaning behind the title of the film.

good news is this film had quite a positive effect that even the korean government aided a huge chunk of seoul's semi-basement appartments' residents

to me, what never goes wrong with Bong Joon-ho is his signal aspect of the resurgence of cynical culture in filmmaking, a culture enamored of criticism. the kind of subjectivity cultivated by raw cruelty as a key cultural gestus. insusceptibility being marketed as the way to be, not out of crude immorality nor by the apathetic western standards but through satirical reality where the idea being all you need is a limited pictorial range expressing the inconsequential contradictions of the world's material partiality. there's value in these approaches and in economic/class ones since it is both psych dysfunction & a calculation of social behaviors according to its relation with its social environments.
It's a form of knowledge or knowledgeable insouciance of others and the way it both showcase a collective disregard of capitalist violence on others as well as on ourselves

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