Bong Joon-ho is a peculiar filmmaker. He’s a huge fan of genres and in his movies tries to merge pop culture and autoship. He’s brave even making mistakes and this a virtue. Most of all he has a vivid contemporary vision and is aware of the political responsibility that an author must consider. He filled all this elements in Parasite and won the Golden Palm in Cannes.
There are so many genres in this social and morality play about a bunch of poor and brilliant grifters sneaking into house and life of a rich family in Seoul. Comedy, drama, horror and even sci-fi remembering classics such as Invasion of Body Snatchers and Alien.
Parasite is a work of synthesis
Because there are all the element that were present in his previous works. There’s class struggle just like in The Host and Snowpiercer, there’s a lot of history of South Korea, a country still divided and wounded. There’s the monster, actually more than one, the assassin and the surviver and they are all haunted by sin, even if probably guilty of nothing but struggling to survive.
Parasite is a disorienting movie, it’s so rich of content that makes a retrospective view quite difficult. The highest risk is drowning in the flood of events that succeed each other with scientific accuracy and punctuated by a very jazzy cinematic rhythm and an unavoidable descent into hell.
Parasite has not a primary reading key
There’s the adamant metaphore of the eternal struggle between north and south. It’s an anticapitalist pamphlet and also a deep thought about the very family institution and its nihilist contemporary evolution. Once digging there’s always the same discover following different tunnels and this usually means writing a story in a proper way.
Bong prefers a dryer style this time.
Very geometric, tuning with the architectur of the story. He uses perspective and depth of field in a magnificent narrative way to give the necessary room to bodies. Lights and colours shift progressively, the glossy Architectural Digest style turns into dark horror atmosphere and disturbing David Lynch’s saturation.
Cast is outstanding, led by Bong’s fetish Song Kang-ho that transmits to his fellow actors and to the audience all the wishes of the director.
Parasite is a Pirandellian story, there are characters looking for an author and Mattia Pascal. And there is even more to say about one of the best movies in years that maybe one could also be considered a masterpiece. It wouldn’t bea wste of time discussing more about Parasite, hoping that such beauty could remain untouched through time.