Parasite Movie Review: A captivating, sensational social satire

Story: A poor, unemployed family play out a well-laid plan to secure jobs for themselves in a wealthy household, only to unleash a series of unexpected events.

Review: A small glass window opening shot of “Parasite,” looking out over a narrow winding street view from a basement house, sets the film’s visual language firmly in the opening. There are many more scenes that symbolically express the social and economic inequality that is the central theme of the film. Especially the use of stairs leading up and down, the cramped space versus the lush, open green lawn, fruit pieces delectable and elegantly in contrast to a clumsy piled plate of food from the local kitchen.
Kim Ki-take (Song Kang-) and his family live in a poky, underground house and are generally unemployed. When we visit them, the family is upset that their access to free WiFi has been cut. Obviously, they are not able to bear their expenses, they are breaking the relationship of their neighbor. In fact, even as there is a fumigation on their street, Kim tells her family to leave the windows open so that, despite almost choking on the smoke, they can freely drive away the insects in their home. On some days, they find temporary jobs like fixing a pizza box. So when his son Kim Ki-woo (Choi Woo-shik) is offered by a friend to install the daughter of a wealthy Mr. Park (Lee Sun-kyun) as an English teacher, he agrees. Is. The only hitch, Kim Ki-woo doesn’t have a college degree because of failing a university exam. But his sister, Kim Ki-jong (Park So-dam) offers a quick solution with her expert photo-shopping skills. With a forged degree document, Kim makes an easy impression on Mr. Park’s wife, Yeon-kyo (Cho Yeo-jong) and their teenage daughter, Park Da-hee (Jung Ji-soo). They also have a nine-year-old son, Park Dae-song (Jung Hyeong), scattered around the house, who Yeon-kyo believes has untapped potential as an artist. Keeping a foot firmly inside Park’s house, Kim Ki-jong manipulates her sister into Da-song’s art teacher* therapist. Yoon-kyo’s gullibility and naivete make this inclusion quite effortless. Soon with some careful planning, fake identities and a well-rehearsed plan, even her parents, Kim Ki-taek and Chung Sook (Chang Hya-jin), are employed in the house.
The Kim family seems to have settled into their newly found roles and the Park family’s sunny, opulent mansion is giving it the perfect backdrop. But just like that, director ** Jun-‘s screenplay gives us unexpected twists and turns into an exciting race for a terrifying but surprising . The prevailing class struggle and social inequality unfold through a well-crafted maze of events. The Kims are often shown hanging out together as a family, taken away from their meals and the parks are often in their own spacious rooms, almost separated from each other. In one scene, when Mr. Park discusses Mr. Kim’s smell that permeates through the car as he drives, ‘crossing the line’ and reaching the back seat, he calls it ‘the old one’. The rag was boiled’ and described as ‘that smell’. that people traveling in metro have’. It is clear that there is untold disdain on both ends, as Chung Sook quipped that Yeon-kyo is ‘good because he is rich.’
With a moment that feels unnecessary or extra, “Parasite” is exceptionally well developed and edited (Yang Jin-mo). Director ** John- masterfully produces stylized, dramatic sequences set to a spectacular background score (Jung Jae-il) as the film rapidly moves from one plot point to another. This results in an amusing yet touching watch. The ensemble kicked off the proceedings with stellar performances, notably Song Kang-**, Park So-dam and Choi Woo-shik.
With an insightful and exploratory exploration of human behavior, “Parasite” is an exquisitely crafted film that is definitely a must watch.

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