Sometimes the commentary is worn on its sleeve: one character repeatedly notes how “metaphorical” things are, perhaps a self-mocking nod to the director himself, who floods his films with meaning. It is, fundamentally, a film about the haves and have-nots. It is, among many achievements, a remarkably well-edited film, the rhythms and pace guiding us through his chosen themes with such care that there is no mystery of its intention. His camera moves and glides with total assurance and conviction, every pan and dolly deliberate. This is a filmmaker who knows exactly what he’s doing and why he’s doing it. What we can talk about is the astonishing craft on display here. Something that makes it, again, difficult to talk about without veering into spoilers.
Where will the conflict come from? Surely their elaborate gambit will be foiled? Bong’s masterstroke is to take that tension and use it against us, to subvert our expectations wildly, to present unexpected challenges to his characters and veer into different genres and tones, to turn the film into something different entirely. If anything, the Kims’ plan goes too well, because we soon realise something has to go wrong. The script, written by Bong and Han Jin-won, has the thick, suspenseful plotting of the best thrillers: sometimes stressful, sometimes darkly funny, always artfully constructed, telegraphs and callbacks everywhere.
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There is a wicked joy to be had in watching the Kims’ ingenious scheme unfurl, piece by piece: a carefully placed pair of knickers here, a scraping of peach skin there. Manages to scratch every cinematic itch you have and offers more up you didn’t know you had.Īnd so the first hour of the film plays out like a conman caper, with all the pace and fizz of an Ocean’s Eleven. Their deeply detached privilege ensures that the Kim family, one-by-one, manage to swindle their way into the family home, without it ever seeming implausible. They live in a grand, modernist mansion in a hilly Seoul suburb the aloof Park patriarch, Dong-ik (Lee Sun-kyun), is head of some faceless IT company, while his stay-at-home wife Yeon-gyo (Cho Yeo-jeong) frets about their troubled children alongside a permanent housekeeper (Lee Jung-eun). The Parks, on the other hand, are in every sense the economic and social opposites of the Kims.
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There seems to be no question among them: the Kims are a united front from the start, and will embark in whatever professional bullshittery they need to lift themselves up. When an opportunity presents itself for Ki-woo, the son, to engage in some light subterfuge by posing as an English-language teacher for the teenage daughter of the wealthy Park family, they seize it. The Kims, we soon learn, are quixotically ambitious and almost Machiavellian in their ingenuity.
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They steal whatever free Wi-Fi their cheap phones can pick up, leave their windows open so the street fumigators will also kill their stink- bug infestation, and watch helplessly as local drunks piss on the road above them. They are unemployed and apparently unemployable. We meet the impoverished Kim family - parents Ki-taek ( Song Kang-ho) and Chung-sook (Chang Hyae Jin), and their adult children Ki-jung (So-dam Park) and Ki-woo (Choi Woo-shik) - living in a squalid semi-basement apartment. This, his seventh film, is different again after the futuristic stylings of Okja and Snowpiercer, Parasite initially snaps into something resembling contemporary social realism.
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