This film is like a wolf in sheep’s clothing, and I mean that with nothing but reverence. Bruh. I usually refrain from the pretentiousness in the distinctions between a “movie” and a “film” because it’s elitist and holds the motion picture arts to different quality standards. It’s unfair and not what the medium was made for.

HOOOOOOWWWWEVER, “Parasite” is one of those pieces of visual art I’ll never soon forget because it’s originality in scope, direction, acting, and editing elevates the medium. 

The scope of the film navigates two families from different socioeconomic wings. The thrill comes in the plot—the less-affluent family devising a nefarious plot to get over on the gullible, wealthy family by infiltrating their lavish lifestyle while attempting to escape unexpected repercussions. Oh, but did shit get twisted quick, fast, and with feverish haste.

There were so many moving parts. So many bit instances that seemed insignificant to the plot that creeped back up and slammed into your gut. The best way to describe it is that it’s a relatable story that suddenly flips its ear. 

The son’s (Woo-sik Choi) cry throughout the exposition and rising action of the family’s sudden luxurious proximity as “metaphoric” was foreshadowing, and a brilliant use of the literacy device.

The rain scene was just flawless. Fantastic direction and framing. The nonchalant attitude of the daughter (So-dam Park) when she figures they’re both metaphorically and literally up to their necks, almost drowning, in the filth of their making, that sometimes you just need to re-center, take a moment, and re-calibrate (or in her case, find a secret stash of Luckies and smoke up). 

The “ghost” scene ,with the son eating the cake on the floor, will forever be etched into my brain. It also aligned with other instances in the film centered around stairs and staircases…the creeping around, slow motion progressions from below—masterfully shot. 

Even in the conclusion when you’re not sure who to root for, you realize where the thrill lies. The family becoming so close to being outed, or outing themselves. Or the affluent family’s young son knowing how to decipher irregularities and his impeccable timing at moments that were not useful to the humble family’s plot. The conclusion was hard to reconcile as it transpired —without giving it away, I could not have been happier with the wrap up of this story. There are actions, reactions to horrific actions, and there are consequences for lapses of poor judgment. I’m a sucker for ambiguous endings, and I thought that’s exactly where the screenplay was going until about five seconds before the ending credits rolled. 

I cannot wait to watch this director’s (Bong Joon-Ho) other films. He has used the same lead actor, Kang-ho Song, in his last few films and for good reason. He was a light in this film. Kang-ho’s raw emotion was exceptional, and the scene in the gymnasium post-flood transcended the theater screen. Honestly wouldn’t be surprised if he’s honored for his role.