Parasite 2019 Review

Posted 2020-03-13 10:59:45

Parasite 2019 - Gisaengchung

Parasite (2019) on IMDb

Genre: Comedy, Drama, Thriller

 

Actor: Song Kang-hoLee Sun-kyunCho Yeo-jeongChoi Woo-shikPark So-damLee Jung-eunChang Hyae-jinPark Myung-hoonJung Ji-soJung Hyeon-junPark Keun-rokJung Yi-seoJeong Ik-hanLee Joo-hyungLee Ji-hyeAndreas FronkAnna Elisabeth RihlmannPark Seo-joonKang-ho SongYeo-jeong JoWoo-sik ChoiSo-dam ParkSeo-Joon ParkSun-kyun LeeHyun Seung-min,

Director: Bong Joon-hoJoon-ho Bong,

Country: South Korea,

Rating: R (for language, some violence and sexual content)

Genre: Art House & International, Drama

Directed By: Bong Joon Ho

Written By: Bong Joon Ho, Han Jin-won

In Theaters: Oct 11, 2019 Limited

On Disc/Streaming: Jan 14, 2020

Runtime: 132 minutes

Studio: NEON

Language: Korean | English

Filming Locations: Goyang Aqua Studio - 250 Tongil-ro 396beon-gil, Deogyang-gu, Goyang, South Korea

Storyline

the kims - parents chung-sook and ki-taek, and their young adult offspring, son ki-woo and daughter ki-jung - are a negative family dwelling in a shabby and cramped 1/2 basement apartment in a hectic lower working class industrial district of seoul. with out even knowing it, they, specifically mr. and mrs. kim, actually smell of poverty. frequently as a collective, they perpetrate minor scams to get by, and even after they have jobs, they do the minimal paintings required. ki-woo is the only who has dreams of having out of poverty by using someday going to university. in spite of now not having that college schooling, ki-woo is chosen by his college scholar pal min, who is leaving to move to high school, to take over his tutoring process to park da-hye, who min plans to date once he returns to seoul and she or he herself is in university. the parks are a rich circle of relatives who for four years have lived in their modernistic residence designed by way of and the previous residence of famed architect namgoong. whilst mr. and mrs. park

You can watch this movie from here

Review

the appropriate manner to enjoy south korean auteur bong joon-ho’s awards-garlanded, global container-workplace damage is with as little earlier information as feasible. so if you’re analyzing this earlier than seeing the film, and also you’ve managed to avoid the whirlwind of publicity it has attracted on account that triumphing the palme d’or ultimate may, it could be less complicated to simply stop and head instantly to the cinema. due to the fact, at the danger of adding to the hype, parasite certainly is the form of super experience that makes present day movie-going one of these joy. i saw it for the fourth time closing week and i’m now desperate to view the black-and-white version that bong these days unveiled on the rotterdam movie competition.

defined by using its writer as “a comedy with out clowns, a tragedy with out villains”, parasite is greater shakespearean than hitchockian – a story of households from contrary ends of the socioeconomic spectrum, informed with the trademark style-fluidity that has visible bong’s again catalogue slip seamlessly from murder thriller, thru monster movie, to dystopian future-delusion and past. we first meet the kim family, headed by using father ki-taek (track kang-ho) and mother chung-sook (chang hyae-jin), in their lowly semi-basement domestic, attempting to find stray wifi coverage and leaving their windows open to advantage from trojan horse-killing road fumigation. they have nothing however one another and a shared sense of hard-scrabble entrepreneurism. so whilst son ki-woo (choi woo-shik) is confronted with an surprising possibility to home-tutor a wealthy schoolgirl, he receives his proficient artist sister, ki-jung (park so-dam), to forge a college certificates, bluffing his manner into the activity and into the house of the park own family.

an architectural marvel perched high above the slums of seoul, with perspectives no longer of urinating drunks however of pricey lawns and starlit skies, this wealthy residence is the whole thing the kims’ pokey dwelling isn't: fashionable, angular and weirdly remoted. whilst aloof businessman mr park (lee solar-kyun) is at paintings, his irritating, uptight wife, yeon-kyo (cho yeo-jeong), tends to their coquettish daughter and hyperactive young son. it’s a way of life that is based upon hired help: tutors, a chauffeur and, most importantly, a dedicated housekeeper moon-gwang (lee jung-eun), who stayed with the constructing after its unique architect proprietor moved out. spying a gap, ki-woo (newly dubbed “kevin”) realises that his own family should without problems fill such roles, and hatches a plan with the intention to inveigle the kims into the privileged lives and home of the parks.

beyond the deliberate ambiguity of the name (which, like jordan peele’s oddly similar us, cuts both methods), bong once more foregrounds a mistrust of wealth and authority that has been a recurrent characteristic of his paintings given that his 2003 breakout recollections of homicide, continuing thru films as various because the host, mother, okja and, of course, snowpiercer, to which parasite includes numerous understanding nods.

the kim own family can also stay in sewage-flooded squalor, however they're truly each bit as clever as, and lots extra united than, the parks, who turn their noses up on the scent of “folks who journey the subway”. further, at the same time as the boastful mr park is habitually depicted ascending the steps of his ultra-cutting-edge home, and the kims are pictured scampering down metropolis steps to their very own underworld apartment, it’s clean who holds the dramatic excessive ground.

when it comes to deception, too, those at the upper rungs of the societal ladder are as practised as the ones upon whom they appearance down. in a international of vertical non-integration, parasite finds gasp-inducing depths lurking under even the most seemingly placid surfaces. but bong is cautious to hold his opposing forces keenly balanced, creating the cinematic equivalent of a rorschach inkblot take a look at wherein the target market is invited to determine for themselves the suitable meaning of those strangely symmetrical apparitions.

flawlessly accompanying the film’s tonal shifts is jung jae-il’s magnificently modulated song, which movements from the sombre piano styles of the curtain-raiser, via the mini symphony of the belt of religion to the cracked craziness of cues wherein choric vocals do battle with a musical saw. simply because the movement can segue from slapstick to horror and again – now and again within the space of a unmarried scene – so jung plays things directly whilst madness beckons, making sure that the underlying factors of pathos are amplified in place of undercut by using pastiche.

for me, parasite is high-quality defined as a despair ghost story, albeit one disguised below umpteen layers of superbly designed (and impeccably photographed) conventional mutations. thrillingly played by a perfect ensemble cast who hit each note and harmonic resonance of bong and co-author han jin-won’s multitonal script, it’s a tragicomic masterclass so that it will get under your pores and skin and consume away at your cinematic soul.

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