Parasite ★★★★½

Bong Joon-Ho has interwoven his filmography with the themes of wealth and class divisions. Whether it’s the hierarchy of his apocalypse train in Snowpiercer or the manipulative capitalism of Okja Joon-Ho continues to tackle wealth and class with creative variety and wit. But Parasite is something new, rooted outside genre it brings these themes into an equally stylized but frighteningly recognizable world. 

Parasite is thematically rich but it’s success hinges on the brilliant structure employed. Tonally the film dances a tight rope and manages this act by a  strategically designed sequence in the middle that fluctuates between tension and relief all the while preparing us for the third act descent. This also reframed the class divide, at first it’s fun to take advantage of the naive rich and then to imitate but eventually this must turn into anger when the consequences come to light. 

The camera constantly emphasizes vertical divide. The direction of lovely or the framing of object is used to widen our feeling of a social vertigo as divides ever widen. The characters always must descend and with this in mind every aspirational climb feels more and more unjust and tragic. 

The word I hear most often used regarding Parasite is perfect which is a lofty adjective to give any film. I won’t go so far as to call this perfect but I understand why others do. Joon-Ho directs this with a clear vision and hasn’t the technical skill to make it work. First and foremost it’s just an entertaining movie with clever jokes and good characters but it isn’t and Joon-Ho isn’t content with just that. Whatever you take from Parasite it’s hard to imagine that one couldn’t take something from it, and in a year of such middling and trite trips to the cinema it’s refreshing to say the least.

Block or Report

Themythking liked these reviews