Parasite

“Act like you own the place.”

8.5

2019

2h 13m

ComedyThrillerDrama

Director: Bong Joon Ho

Overview

All unemployed, Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident.

Trailer

B&W Version Official Australian Trailer [Subtitled] Official

Cast

Kim Ki-taek

Song Kang-ho

Kim Ki-taek

Park Dong-ik

Lee Sun-kyun

Park Dong-ik

Yeon-kyo

Cho Yeo-jeong

Yeon-kyo

Ki-woo

Choi Woo-shik

Ki-woo

Ki-jung

Park So-dam

Ki-jung

Moon-gwang

Lee Jung-eun

Moon-gwang

Chung-sook

Jang Hye-jin

Chung-sook

Geun-se

Park Myung-hoon

Geun-se

Da-hye

Jung Zi-so

Da-hye

Da-song

Jung Hyeon-jun

Da-song

Driver Yoon

Park Keun-rok

Driver Yoon

Pizza Manager

Jung Yi-seo

Pizza Manager

Reviews

SWITCH.

What makes ‘Parasite’ so satisfying is that it commits neither error. It’s an engrossing, stylish and near perfect movie, and its underlying themes go beyond merely pointing out class exploitation to challenge the logic of capital. Though he is often juggling a mosaic of characters, themes and social issues, Bong never eschews his anarchic impulses and dark humour. It’s a movie that should be seen as widely as possible, if only so that Bong Joon-ho gets more chances to make movies for modern audiences that badly need them. - Jake Watt Read Jake's full article... https://www.maketheswitch.com.au/article/review-parasite-a-bloodthirsty-and-very-funny-look-at-class-warfare Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.

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Sheldon Nylander

The working class and down on their luck Kim family struggle to make ends meet. When a friend of the son, Ki-Woo’s, who is an English tutor for the daughter in the wealthy Park family, has to leave his position, he recommends Ki-Woo for the job. Now having an "in" with the wealthy family, the Kims begin plotting the downfall of the current household servants and inserting themselves into those vacant positions, making them all gainfully employed and with money finally flowing into the household. But not everything is as it seems in the Park house or with their previous servants. This movie starts out as a comedy and quickly goes into social commentary, pointing out the differences between the poor working class family and the wealthy privileged family. The differences are ones that get commonly pointed out with the well-to-do having what usually gets termed as first-world-problems, while the poor family is literally trying to survive and save meager possessions in a flood. It doesn’t shy away or try to be subtle about it, but interestingly enough, we don’t feel beaten over the head with it either, which is a major change from the ham-fisted approach taken by most filmmakers. Couching this in a comedy is a good approach, as well, as the audience’s guard is let down and we become more receptive to the ideas. However, I do say it’s MOSTLY a comedy. The third act takes a dark, dark turn, and the contrast, not to mention general disdain and even indifference, between the classes becomes much more severe. This gets into some hard territory, and characters that we’ve found quirky and even come to like in some ways show very different sides of themselves. At the same time, it doesn’t feel unexpected, almost like we could tell that this was under the surface all the time and tried to ignore it, but aren’t surprised by it when it does show up. This is some masterful characterization! Another aspect of note is that this film is rich in allegory and metaphor. It’s a smart film, yet at the same time the filmmakers are not condescending about it. They give the audience credit for being able to understand the symbolism and don’t spoon feed you everything, which is a refreshing change from the usual head-beating most filmmakers go for. At the same time, they understand that not every audience member will understand or immediately pick up on every symbol, but they have crafted this so carefully and so perfectly that you don’t have to understand each and every one. That understanding merely enriches the experience, but isn’t essential to it. This film has gotten some recognition, and deservedly so. It is rich, intelligent, and polished to a degree that we sadly don’t see as often as we should nowadays, showing the filmmakers are masters of their craft. This is easily one of the best films I’ve seen in 2019. Highly recommended!

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Saru

This is VERY HIGHLY OVERRATED. The most part of the movie is foul-playing, most of those scenes seem to have been copied from the 1999/old Vijay’s movie: Minsaara Kannan [IMDB: https://www.imdb.com/title/tt7562630/?ref_=nv_sr_srsg_2], (Warning: This again might be a copy of some other movie as well]. “Morse code” has been used in a much better way in 2017 Ajith’s film: Vivegam [IMDB:https://www.imdb.com/title/tt6878378/?ref_=nv_sr_srsg_0] [Letterboxd: https://letterboxd.com/film/vivegam/] I just don’t understand what makes this movie so special that it has been appraised so highly. It is not even 10% of the Tamil movies at this level/standard. People who’re praising this movie must start watching Tamil movies instead of Korean, there are so many gems that have gone unnoticed. There is really nothing special in this movie that stands out. Cannot digest that an average movie like this has got so much limelight. Btw: Where does this kinda BS trend start off?

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