PARASITE

 

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ABOUT THE AUTHOR / DIRECTOR

Bong Joon-ho is a South Korean film director, screenwriter, and producer. He was born on September 14, 1969, in Daegu, South Korea. He is the youngest of four children. After studying Sociology at Yonsei University, Bong-ho attended the Korean Academy of Film Arts for two years and made a large number of 16mm short films. His film, Parasite, made a huge impact and has received international acclaim. It won him the Palme d’Or at the Cannes Film Festival, the first time a South Korean film had done so. Also, Parasite became the first South Korean film to be nominated for an Academy Award. Bong Joon-ho made history by winning ‘Best Picture," becoming the first non-English-language person to do so. Additionally, he bagged three other Oscars for winning Best Director, Best Original Screenplay, and Best International Feature Film.

SOCIAL AND CULTURAL CONTEXT

Parasite is a great movie. There is so much cultural and social context evident in the film. The movie, with Korean as its major language, was shot in South Korea, in Seoul alleys and a studio set in the city of Goyang, and was produced by an almost entirely Korean cast and crew. The unsettling, symbiotic (or parasitic) connection between a poor family, the Kims, and a wealthy family, the Parks, is widely relatable in director Bong Joon-ho's social satire presented in this movie.

The film, "Parasite," helps us comprehend the South Korean government's approach to cultural diplomacy. The role of the government, as it is in many other countries, is critical to the development of cultural industries. In South Korea, the government has built a specific cultural strategy centered on state-developmentalism, public diplomacy, and country branding to meet its tense foreign policy priorities.

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South Korea has a thriving quick-service restaurant culture, with delivery becoming increasingly popular. Ki-Woo is drinking with a friend outside a bar at the start of the film. Outside a convenience store, there are little areas containing a table, chairs, and sometimes a tent. Many restaurants also operate from street bars, with enormous tents serving as the primary structure. Koreans aren't afraid to sit outside in the cold for a drink or a bowl of ramen. It is also customary for the youngest to serve their older siblings first.

One view that is very prevalent in South Korea is that having a college education is the only way to proceed, have work, and get ahead in life. The education system in South Korea is extremely tough to manage. It's one thing to get through high school, but it's quite another to get into the right college. One of the very serious things that matter for Korean college students is passing a college entrance exam. Many students' futures are at stake, and this may be quite stressful. The exam will determine if you get admitted to the university of your choice. This particular culture was clearly obvious when Ki-Jung took the entrance exam for the university she was aiming for. 

Despite being one of Asia's largest economies, South Korea still has a wealth disparity between the rich and the poor. This social division is deeply reflected in the film as we have the Parks as the wealthy family and the Kims as the poor family. The Kim family was living in a half-basement house that was midway between the ground and the rest of the globe. On the other hand, the house of the Park family is a major thing since they are in luxury. In South Korea, particularly in its capital, Seoul, not everyone has the capability to buy a house. The majority of Seoul’s population lives only in apartments. Inequality in South Korea is not necessarily higher than in many other nations, but it is on the rise. There are South Koreans who consider themselves "Dirt Spoons," or those who come from poor families, and those who consider themselves "Gold Spoons," or those who come from better families. This resonates perfectly with the message the movie conveys.

SUMMARY

In order to keep food on the table, the Kim family lives in a semi-basement. They work odd jobs for a living, such as folding pizza boxes, and they maintain their homes insect-free by using unencrypted wi-fi networks and pesticides used for street cleaning. One day, the Kims were visited by Ki-Woo's friend, Min-hyuk, who offered to recommend him to a job teaching for an affluent family, the Parks, after struggling financially.

During his visit to the Parks' sprawling home, Ki-Woo meets Mrs. Park, a naive but kind woman. He also meets Da-Hye, the flirt daughter, and Da-Song, her younger brother, for whom Mrs. Park is trying to find an art tutor. Seeking a job for his artistically talented sister Ki-Jung, Ki-Woo says he knows a woman named Jessica who went to college in Illinois and might be a good fit for the job. Pretending to be an art-therapy teacher, Ki-Jung begins working for the parks. After the Kims had fired their previous chauffeur, Ki-Taek, the father, takes over as the Park family's personal driver, and Chung-Sook, the mother, takes over as the Park family's housekeeper, who has worked there for longer than the Parks have lived there. Chung-Sook is accused of misleading his family by concealing a deadly disease. The Kims are in charge of the main deceit, and it works brilliantly.

For Da-Song’s birthday, the Park family go camping and left the house unoccupied. In the meantime, the Kim family moves in and indulges.  Moon-Gwang suddenly turns up, saying that something has been left at the house. Moon-Gwang reveals a bunker in the basement of the home, a lair that was put by the architect who created it and which even the Parks don't know about, as Chung-Sook invites her in. Moon-Gwang’s husband, Geun-Sae, is hiding from loan sharks in the basement. Moon-Gwang begs Chung-Sook not to tell the Parks anything, but Chung-Sook threatens to do so. After eavesdropping on the talk, the Kims suddenly fall in a heap down the bunker's steps. Moon-Gwang takes video of them and threatens to expose it to the Parks after realizing they're all related. Eventually, the Kims manage to bring Moon-Gwang and her husband into the bunker when a quarrel breaks out in the living room of the house, but Mrs. Park calls and tells Chung-Sook that they're headed home because the campgrounds have flooded due to rainfall. When the Parks get home, the Kims are locked in the house, cowering under the coffee table. Unfortunately, Chung-Sook kicked Moon-Gwang down the steps, concussing and murdering her as she tries to ascend the stairs and expose herself.

The Kims are fortunately able to flee, however, when they arrive home, their apartment is entirely soaked. Mrs. Park calls every one of them in the next day to help with Da-Song's birthday party, which will be held in the garden. When Ki-Woo enters the basement, Geun-Sae strikes him with the rock and slams him in the head. After that, Geun-Sae appears in the garden and uses a knife to stab Ki-Jung in the chest. Mr. Park yells at Ki-Taek to throw him the car keys so they may transport Da-Song to the hospital as he faints in dread. It fell under Geun-Sae, who is battling Chung-Sook when Ki-Taek throws the keys. Mr. Park pulls the keys from under Chung-Sook when he stabs him with a pork skewer, but scowls at Geun-stench Sae's in the process. Ki-Taek reacts by stabbing Park in the chest before fleeing down the subterranean bunker undetected. In the hospital, Ki-Woo awakens and discovers what has happened. The sensor light is turning on and off in a pattern—Morse Code—as he stands in the woods near the Parks' house, which has been bought by Germans. It is a message from his father, who is living in the bunker, which he interprets as a message. He responds with his own letter, in which he expresses his desire to buy the house for himself and reunite his family.

PLOT

Exposition

Parasite begins by showing the Kim family’s current living conditions: residing in a basement-like apartment while taking on temporary low-paying jobs. Their future prospects improve as Min-hyuk gives them a rock said to bring financial success and passes his tutoring occupation onto Ki-Woo for the Park family’s daughter Da-hye under his false identity as “Kevin”.

Rising Action

The story’s rising action starts when the Kim family’s daughter, Ki-Jung, is also hired as Jessica, an acclaimed art therapist for the Park family’s son, Da-song. This continues as their father, Ki-taek, also replaces Yoon as Park Dong-ik’s new chauffeur, and then finally as the mother, Chung-sook, takes Gook Moon-gwang’s role as the Park family’s housekeeper. Tensions peak when Moon-gwang and her husband Oh Geun-sae discover the Kim family’s infiltration as they enjoy the Park family’s high-end house. This rise ends as the Kims escape the Park family’s household and take the night off, before immediately getting called to Da-song’s impromptu birthday party.

Climax

The Kims face the time to decide what they were to do next when they arrive at the Parks’ place of residence. Ki-woo fails to finish off the couple hiding in the bunker, as he is rendered unconscious by the now-deranged Geun-sae. Geun-sae equips a knife from the kitchen and stabs Ki-jung during the party, while Da-song starts convulsing which prompts both his parents to move him to an emergency room. Chung-sook fatally injures Geun-sae after a short skirmish, and finally, Ki-taek decides to stab Dong-ik after he sees him find a nearby smell abhorrent. Most of the people flee from the scene and Ki-taek takes refuge in the house’s bunker.

Falling Action

Following the events of the bloodbath during Da-song’s birthday, Ki-woo recovers after having brain surgery, and he and his mother are charged with probation for their crimes. The remaining members of the Park family move out of the house, and new German immigrants buy it without knowing its backstory. Ki-woo discovers that his father Ki-taek had hidden himself in the house’s bunker, and deciphers his messages sent in Morse code using one of the lights by the stairway.

Denouement

Ki-woo writes a response message addressed to his father, saying that he would purchase the house with his own money. A future vision of him surveying and transaction of buying the house can also be seen, enjoying the sunny lawn together with his mother, and then getting reunited with Ki-taek. The film ends, however, with Ki-woo remarking that doing so would take a very long time to get there.

LITERARY CONVENTIONS/ELEMENTS

Conflicts

Individual vs. Circumstances

Though we see the Kim and Park families clashing, with the Kims being a parasite of the Parks, the conflict lies more so on the respective families’ statuses; the Kims are desperately poor and thus take advantage of the Parks’ riches, while the Parks also take advantage of the Kims as the hired staff that maintain the processes of their household. This conflict becomes the driving force behind each character’s course of action. As such, their intertwinement leads them towards conflicts beyond their parasitism, which ultimately ends up in the violent outcome that happened in the story.

Individual vs. Society

The way society treats the poor, as shown in the movie with the Kim family, can also be considered as a conflict. Instances include when they were tasked with folding pizza boxes, when the members of their family needed to falsify their identities as individuals higher up the social hierarchy, and when the Park couple discriminated Ki-taek’s distinct smell that reminded them of the subway. Each maltreatment forms the Kims’ twisted personalities that constantly rely on deception to make it through life.

Complications

Individual vs. Individual

We find numerous cases of direct man to man confrontations in the story: the drunken man that consistently urinates by the Kims’ residence, the Kims’ forceful attempts to silence and disable Moon-gwang and Geun-sae from informing the Park family of their familial infiltration, along with the combat and murders during Da-song’s birthday.

Individual vs. Nature

After three members of the Kim family had escaped the Park household, they found themselves struggling to salvage what was left of their belongings after heavy downpours and clogged sewage had flooded their home. They are displaced out of their original residence and are forced to spend the night in an evacuation center afterward.

Individual vs. Self

The Kims also faced difficulty while trying to formulate a plan in what to do with their situation and with the people in the Park family house bunker. On their way home, doubts were present in the children’s minds, which are then cleared up by their father’s claim on already knowing what to do afterward. Their load is then increased with the Parks suddenly holding a party, hastening their efforts in deciding what they would do.

Plot Devices

Foreshadowing

Two major instances of foreshadowing can be found in the story. The first one foreshadows issues with regards to bad odors later on: at the beginning, Ki-taek complains about how stinkbugs had plagued their household. Likewise, we can observe both Park Dong-ik and Choi Yeong-gyo complaining about Ki-taek’s scent, as if his complaints were completely redirected back towards him. The other instance is also found in the beginning, as Ki-woo’s friend Min-hyuk gifts them an ornamental stone that would bring material wealth to their family. Ki-woo is also shown to mishandle this stone later on and almost use it as a weapon against the drunkard that took a piss above their residence. This forecasts their family’s situation in getting vast sums of money from the Park family by working under them in various forms of work. His improper handling of the stone may also be thought of as their downfall after Geun-sae turns Da-song’s birthday party into a disaster. Additionally, The Script Lab’s Daniel Lee (2020) also describes the many forms of foreshadowing that occur in Parasite: (1) as mentioned, Ki-taek’s act of flicking a stink bug off the table and the Park family hating on the Kim family’s smell, the same with (2) a folded crease being found on one of the pizza boxes and Ki-taek’s statement on rich people having no creases, (3) Ki-taek observing Chung-sook argue with the pizza supervisor through their barred window and Ki-taek living in the bunker, (4) Ki-jung passing by two men fighting over a phone as she is driven home and the Kim family fighting over Moon-gwang’s phone, (5) Ki-jung remarking how the men of the Kim family splash water on the drunkard is a deluge and the three of them returning home to a downpour that flooded their house, and (6) Dong-ik and Ki-taek planning on attacking Jessica as she brings the cake to Da-song and Geun-sae legitimately attacking her with a knife.

Flashback

The story also utilizes flashbacks to add variety in the film. We can notice its use when the Kims begin plotting against Moon-gwang to get Chung-sook inside the house as their housekeeper. The scenes alternate between Ki-taek practicing the lines he would say to Yeong-gyo at their residence and him talking to her in person as he was working as her chauffeur. Another is when Moon-gwang and Geun-sae reminisce of their previous days enjoying the house and dancing to music together, right before they cut into wrestling with the Kim family for Moon-gwang’s phone. We can also take note of a minor instance when Yeong-gyo recounts the events of Da-song’s birthday when he allegedly saw a ghost in the form of Geun-sae’s head and then started convulsing. Lastly, the story makes use of flashbacks while retelling the latter events in Ki-taek’s perspective. After it is revealed that Ki-taek had not escaped but had rather hid himself in the bunker, we see him reflexively go through the house’s garage and then avoid being detected by the cops that were pursuing him in a flashback.

Suspense

After the exposition, the story keeps an ongoing sense of tension in the viewers since members of the Kim family constantly risk having their activities found out by the Park family. An instance may be when Da-song notices that all four of the Kims smelled similar, hinting to them possibly discovering their familial ties. This peaks especially during their confrontation with Moon-gwang and Geun-sae, much more so because the Park family was on their way home. Suspense also heightens during three of the Kims escaping the Park house, when Ki-woo descended into the bunker while bringing down the stone with him, and when Geuing-sae had been overcome with bloodlust.

Surprise

Surprises are also present in the story. The first surprise may be from how Ki-woo and Da-hye suddenly lean in for a kiss during their tutorial sessions when they had only met each other so recently. We may also consider Ki-jung’s sudden decision of removing her underwear in the car on her way to the station surprising, since her reasoning as to why she did so was not yet revealed. It is also surprising how the Kims immediately infiltrate and enjoy the amenities of the Park family’s house right after they had left to go camping.  How Ki-taek bluffs an argument by pushing away the things on the living room table and then grabbing his wife by the collar is also surprising. Following that, the arrival of Moon-gwang and her revelation of hiding Geun-sae in the house’s bunker can be considered as a surprise too. She then suddenly shouts “honey” while going down the stairs of a section in the house completely unbeknownst to anyone but the original architect and the couple that had utilized it. Another surprise is when the Park family starts calling the house’s telephone to inform Chung-sook that they were returning to their home already. We can also think of the Park couple’s decision to engage in sexual activity while watching over their son play in the tent as another surprise in the story. Chung-sook kicking Moon-gwang down the stairs that give her a concussion also comes to us as an unexpectedly violent decision. Lastly, many surprises are kept at the final moments of the story, beginning with Geun-sae escaping his bonds and letting his fury manifest as aggressive acts of wounding others, to Ki-taek’s act of stabbing Dong-ik, and even when we find out that Ki-taek had been missing as he retreated to the bunker in the house.

Coincidence

A major coincidence in the story is when Ki-jung slips while eavesdropping on Chung-sook’s conversation with Moon-gwang and Geun-sae. This makes the couple end up seeing all the members of the opposing party, and likewise see through their antics in leeching off of the Park household. This then proves to be the largest source of conflict within the story moving forward in the plot.

Setting

Place

The story takes place in the land of South Korea, as Ki-taek remarks how he knows the roads “below the 38th parallel”, referring to the entirety of the country since the 38th parallel is actually the borderline between North and South Korea. It specifically includes scenes in some slums where the Kim family’s home is located, in the streets and urban facilities that the Park couple regularly visit, and in the residential area the Park household is located in.

Time

The time period of the movie may be categorized under our modern area, between the years 2010 and 2020. The movie also alternates between times during the day and times during the night. Moon-gwang also specifies the time of year, saying it was June when she was conversing with her husband Geun-sae. The movie, however, ends by the time winter has come, seeing that the seasons have changed following Ki-woo’s recovery.

Weather Conditions

We often see sunny, clear, or fair-weather happening during the movie. However, there was also heavy rainfall and thunder by the time the Parks had left to go camping for Da-song’s birthday. There is also some snowfall during Ki-woo’s ascent up the mountain near the house now under a German family’s ownership, and as he had said how long it would take to reach his newfound goal.

Social Conditions

The characters’ social conditions are highly defined by their social statuses, where members of the Kim family are dressed poorly at home while members of the Park family are able to wear more presentable clothing. Furthermore, the story is mainly in Korean and is portrayed by Korean actors, with only some instances of the characters speaking in English.

Mood/Atmosphere

At the beginning of the story, the mood created initially evokes feelings of pity, with the Kim family living in very undesirable circumstances. However, we can begin to feel hope as their luck turns for the better with Ki-woo earning a hefty sum from being Da-hye’s tutor. Their relentless infiltration that brought all four members of the Kim family also brings forth a feeling of mischief, with how they dominated the Park family’s workforce having changed the mood to be one of celebrating success and triumph. In the latter half, we can feel the mood fall darker as conflicts are further escalated. Fear and horror can be felt by the time Moon-gwang held the Kim family hostage with her threats of blackmailing them. A suspenseful atmosphere is also formed during the Park family’s arrival and the Kim family’s escape. Afterward, we fall once more into pitying the Kim family after flooding had ravaged their home, and then we go back to horror again as Geun-sae turns Da-song’s birthday celebration into a festival of blood and gore. Lastly, we turn to hope when we find out that Ki-taek had safely hidden in the house, and then we are faced with despair with how although Ki-woo had vowed to purchase it, the feeling of doing so taking forever, combined with the cold winter snow falling in the background, makes the movie end off on a gloomy note.

 Characters and Characterization

Kim Family:

Kim Ki-taek (Father)

• Protagonist, anti-hero

• Round, dynamic

Kim Ki-woo (Son)

• Protagonist, anti-hero

• Round, dynamic

Kim Ki-jung (Daughter)

• Protagonist, anti-heroine

• Round, static

Chung-sook (Mother)

• Protagonist, anti-heroine

• Flat, static

Park Family:

Park Dong-ik (Father)

• Foil

• Flat, Static, Stereotyped/stocked 

Choi Yeon-gyo (Mother)

• Foil

• Flat, Static, Stereotyped/stocked 

Park Da-hye (Daughter)

• Foil

• Flat, Static, Stereotyped/stocked 

Park Da-song (Son)

• Foil

• Flat, Static

Other Characters:

Gook Moon-gwang (Geun-sae’s Wife)

• Antagonist

• Round, Dynamic

Oh Geun-sae (Moon-gwang’s Husband)

• Antagonist

• Round, Dynamic

Min-hyuk (Ki-woo’s friend)

• Foil

• Flat, Static

Tone

The movie Parasite continues in a significantly darker tone until the film's conclusion, with the film's dramatic revelation. Boon Joon-Ho undeniably shows a great change in tone throughout the movie. The tone is more lively in the first half but suddenly made a sudden change of tone into a thriller and serious one in the latter part of the movie.

Mood

Just like the tone, the mood portrayed throughout the movie had an extreme shift. The viewers can actually feel the drastic change – from a heist comedy to a satirical and suspenseful one.

Style

Bong-Joon Ho used a genre-bending style approach by combining a black comedy with a suspenseful drama.

Theme

In an industrial and capitalistic world, there are clear distinctions between the rich and the poor, and the latter are unable to achieve social mobility.

Cinematography and Effects

Numerous intricacies are put into play in the making of Bong-Joon Ho's Parasite, together with the visible cinematographic genius of Kyung-pyo Hong.  Baker's 2020 article effectively deconstructs many of these scenic embellishments, beginning with the method of shooting and the film environment. Initially, we see the short yet wide grated window of the Kim family residence, which provides them minimal privacy from the outside world, and the occasional drunkard that mistakes their area for a toilet. In contrast, the Park family house boasts a window that is much taller, presentable, and luxurious, having an aspect ratio of 2.39:1, which is commonly referred to as the anamorphic widescreen format used in most premium dramatic films. We also take note of the film's camera angle: at the very beginning, we observe the scene pan downwards to Ki-woo, but as he progresses well in their schemes, the camera is parallel, and then looking up toward him, specifically when he had referred Ki-jung to the mother of the Park family. Kyung-pyo also pays attention to the lighting effects throughout the movie. The poorer characters usually end up with artificial lighting, at times turning them on even when it is still day. However, scenes of the Park family are more or less taken in natural lighting, which further signifies the divide between the two social classes. Staircases also help portray changes in the characters' hierarchy by showing their respective movement of going above or below other people. Ki-woo going up the street, and even the stairs of the Park residence shows how he is going up in life as his new job is now an excellent source of income. Ki-jung also forces Da-song's mother outside of her son's room, even making her go downstairs and wait for them to finish. Another element in completing Parasite is on the topic of symmetry; though we see almost symmetrical shots throughout the film, they are limited to just that, almost symmetrical. This choice was said to be intentionally taken, as it had brought a feeling of never getting to perfection, only to the point of "almost" arriving there. The characters' presence within the frames also comes as an important detail in the movie. Since most of the Kims are shown together in the frame as a family, it invokes a sense of unity between all of them; in stark contrast, the Parks may embody the lack thereof, as they are most usually shot separately. And lastly, some frames in the story also show, albeit discreetly, the linear separation between the rich and the poor characters. Bong does this by utilizing things visible in the physical setting, e.g. the corner line of a window, the fridge door in the background, and among others to isolate members of the Park family from everyone else.

Casting

The following details are taken from each actor's IMDb biography page:

Kang-ho Song as Kim Ki-taek

Song Kang-ho's acting career began after he had graduated Kimhae High School in the 1980s. He first left his marks in the movie world as an extra character in The Day a Pig Fell Into the Well (1996). His success is further developed throughout the following decade, and he debuted in his first English-language international film in Snowpiercer (2013),  directed by Bong Joon-ho, the same director for Parasite. In this movie, Song plays the part of Ki-taek well; from the character's hand gestures to his well-experienced demeanor coupled with minor hints of senility, we are presented with a very well-reflected image of the Kim family's father through Song's acting.

Woo-sik Choi as Kim Ki-woo

Choi Woo-sik had starred in movies like Set Me Free (2014), Train to Busan (2016) and Okja (2017) before being a part of the Parasite cast. His work in acting as the Kims' eldest son can be commended for excellence in playing a con artist role, especially in facial expressions, with an emphasis on his deceptively believable vocal tone in saying "metaphorical".

So-dam Park as Kim Ki-jung

Park So-dam initially found her interest in acting after watching the musical Grease (1978). Her presence went mainstream after her strong impression in The Silenced (2015). Even before Parasite, Park had already familiarized herself with Bong Joon-ho films, her favorite being Memories of Murder (2003). As Ki-jung, Park's work is virtually seamless, with her stating that the character was natural to her even from the start. As a result, her load in memorizing every line was very light, saying that she even felt as if she wrote her own lines herself.

Hye-jin Jang as Chung-sook

Jang Hye-jin stars in other noteworthy TV series like Crash Landing on You (2019) and Into the Ring (2020) alongside her work in Parasite. Like her colleagues, Jang does well in manifesting her character as the Kim family's mother, Chung-sook. In doing so, we can easily perceive how cunning and focused she is when it comes to self-preservation by the time she had confronted Moon-gwang and Geun-sae.

Lee Sun Kyun as Park Dong-ik 

Sun-kyun Lee was born in Seoul, South Korea, on March 2, 1975. Parasite (2019), A Hard Day (2014), and Paju (2009) are among his many credits as an actor and manager.

Cho Yeo Jeong as Choi Yeon-gyo 

Cho Yeo-jeong, was born in Seoul, South Korea, on February 10, 1981. She is an actress who has appeared in films such as Parasite (2019), The Servant (2010), and Obsessed (2014).

Jung Jiso as Park Da-hye 

Ji-so Jung is an actress who has appeared in the films Parasite (2019), The Cursed (2020), and The Tiger (2015).

Jung Hyun Jun as Park Da-song 

In South Korea, Hyun-jun Jung was born on November 8, 2011. He is an actor who has appeared in films such as Beyond Evil (2021), Sijipeuseu: The Myth (2021), and Parasite (2019).

Lee Jeong Eun as Gook Moon-gwang 

Lee Jeong-eun is an actress who has starred in the films Parasite (2019), Okja (2017), and Mother (2009).

Park Myeong Hoon as Oh Geun-sae 

Known for his roles in Parasite (2019), Tidal Wave (2009), and Alive (2014), Park Myeong-hoon is an actor from South Korea.

Music Score and Music Background

Bong Joon Ho, known in Korea as 'Bong-tail' for his meticulous attention to detail, has always put a lot of thought into how music is used in his films. A sophisticated layer of emotion is added to the class-struggle drama by Parasite's 'simple' soundtrack, which respects the film's compelling sentiments. The film is backed by a wonderfully crafted score that manages to develop great emotional energy despite being mostly minimalist in nature, ranging from piano solos to short opera and orchestral parts. The music produced by Jung Jae-il helps establish the enormous gamut of emotions that audiences may experience, particularly in response to the film's complex allegory of societal order, from its foreboding aura of threat in the film's early songs to the sorrowful pieces during the film's climax and finish.

Costume

Kim's family's clothes were improper for the top and bottom, they were faded, and there was a hazy line between outdoor and interior clothing. Park's family's homeware, on the other hand, had a more modern and sophisticated look to it, an obvious differentiation that was appropriate for the occasion. The Kims' family had a significant difference in an appearance before and after having a job, while Park's family donned various outfits for going out. Intrinsic class invariance, transient class shifts, variances in class expression by age, and differences in costume choice by class were all proven to be aspects of social class exhibited in movie costumes.

LITERARY CRITIQUE

Ki-Woo’s Ambition was to be Like Min

Ki-Woo has said that he did not qualify for the tutoring job, for fear of not being able to emulate the credentials and merit of Min. It shows that Ki-woo has high regard for Min. During the time when they were all finally able to be working for the Park family, they were elated therefore they celebrated on it until a drunk man was peeing near to their house, thus disturbing the occasion. Ki-Woo ran out and brought the rock with him, with intent to smash the rock to the drunkard, but it was changed to a water bottle. He yelled “get a grip!” to the drunkard, it is the same line as what Min told to a drunkard at the first 10 minutes of the film. Ki-Woo –like his friend Min– also has developed a romantic interest in Da-Hye and the same intent to ‘ask out’ Da-Hye after she goes into a University. During Da-Song’s birthday, when the Kim family escaped, Ki-Woo iterated “I wondered what Min would’ve done in this situation?” Which Ki-Joong replied frustratingly “Min wouldn’t be in this situation” Shows how much Ki-Woo aspires to be like Min.

The Scholar’s Stone or suseok is a Symbol of Ki-Woo’s Dream to be Wealthy

University student Min-hyuk, a friend of Ki-woo's, gives the family a scholar's stone meant to promise wealth. Leaving to study abroad and knowing his friend needs the income, he suggests that Ki-woo poses as a university student to take over his job as an English tutor for the daughter of the wealthy Park family, Da-hye. Ki-woo sees the stone in a way that would represent the good wealth that would be brought to the family. This stone follows Ki-Woo all throughout the film, and at one point he even says that the rock is a part of him. 

Example 1

After each member of the Kim family successfully infiltrated the home of the upper-class Park family one by one, they celebrated, thus the stone can be seen in the background during that scene. 

Example 2

When a severe rainstorm brings the Parks home early, it can be seen that Ki-Woo seems to be fixated on the stone despite the chaos around him. The stone represents this desire in the heart of Ki-woo not to give up on the idea that he can become the kind of guy who can find a way to give his family a better life.

Example 3

When the stone was brought along with him during Da-Song’s birthday party, he held onto it after asking Da-Hye if he is good enough to fit into the environment full of rich people. It can be understood that the stone gives Ki-Woo comfort when he’s starting to doubt whether he will be able to achieve and be integrated into a luxurious lifestyle.

Example 4

Ki-Woo brought his stone to the bunker, using it as an instrument to fight against Moon-Gwang and Oh Geun Sae by hitting them on the head. It shows that the stone is going to be used to stop other people from destroying his dream. 

At the start of the film, the stone appears to promise so much but the hollow promises of the stone only go so far and it delivers very little, even going as far as betraying the Kim family, almost resulting in the death of Ki-woo while helping to cause the death his sister, Ki-jeong. The stone is not only a symbol but a motif of a larger theme. The stone itself gives a lesson that dreaming about a good life and bringing yourself into delusions will only hit you back with the harsh reality at the end.

Park Dong-Sik Wanted a Clear Division Between the Rich and the Poor

Park Dong-Sik (The rich family’s father)  was very particular about people who work for him crossing the line. He mentioned this when he was being driven by Ki-Taek for the first time, when he discussed Moon-Gwang’s resignation, and also when he was sleeping with his wife on the couch while they were watching over Da-Song. He mentioned that he smelt the odor that was coming from Ki-Taek when he was being driven, he considered it as crossing over the line. He also mentioned that it was the smell of the people who only took the subway, he designated them as ‘having a distinct smell’. He implicitly expressed his particularity with ‘crossing the line’ has to do with professionalism. When in fact it was actually to make sure that the servants know their place in the household. For example, when ‘Driver Yoon’ was discovered that there was a panty found in the car, he described it as crossing the line, soon he said “Don’t you pay him well?” then he added, “can’t he afford a hotel?”. For him, crossing the line is actually preventing what he conceived as poor from being too comfortable with their affluent family.

The Stairs/Slopes were an Allegory of the Relief and Relaxation if a Poor Family Could get to Experience to be one of the Higher Social Class 

The movie has shown many stairs all throughout the film. At the beginning of the movie, the first stair shown was for an elevated toilet. They would need to climb the stairs to relieve themselves. In the movie, when they didn’t have any wifi connection, they searched for a new source of connection, they only found it when Ki-Woo had to climb the stairs of the elevated toilet, meanwhile, Ki-Joong who didn’t climb the stairs still hasn’t received any signal. She only received the signal once she also climbed the stairs. Thus, it is symbolic of how relief can be achieved at the top. When Ki-Woo has accepted the job of being a tutor, he then went to the Park family’s house, he was turning his head after climbing the stairs, as if with awe and admiration, and he did find comfort and relief on top of those stairs. Next, when Ki-Taek was carrying the groceries with  Park Yeon-Kyo (The rich family’s mom), Ki-Taek has seen that Ki-Joong perfectly executed the plan, although he may not show it, knowing the context of the story, he must be relieved that the timing was right. Lastly, whenever the poor family goes down a sloping road and stairs, they’ll always see the grim reality of the needy. Like when the Kim family escaped on the Park Family’s house on the day of Da-Song’s birthday, they descended on the road and the stairs, only to see sewage spewing and their house flooded. Also when Moon-Gwang expressed herself and Choong Sook, as being part of the needy. Both of them are also physically living below the Park family.

The Smell Coming From the Kim Family as a Representation of How he Can’t Escape or Cover his Poverty

There were many scenes where it was shown how Ki-Taek’s odor has affected the Park family. It represents the wealth gap between the Park family and the Kim family, since the smell that the Kim family has is actually the semi-basement smell, as mentioned by Ki-Joong. That semi-basement smell is not only particular to the Kim family, but it is also apparent and similar to the smell of ‘people who take the subway’ as mentioned by Park Dong-Sik (the rich family’s dad). The people who take the subway and lived in a semi-basement are likely to be the people who are in the lower social class. Ki-Joong said that they will never get rid of the stench not until they move out of their home, which they can’t, considering their circumstances.

The Stairs as a Representation of Social Status

The Kim family may be below the Parks in status, but even they can look down on Moon-gwang and her husband. The secret basement reveals an even lower level of status below what we had thought was the floor with the Kim family. Elevation clearly equates to status; the park’s have a multi-level home at the top of the hill while the Kim’s live below street level in a semi-basement, and the surprise 3rd party lives deep underground in a sub-basement. This vertical comment on status is illustrated cleanly in this alternate poster for the film, without spoiling the sub-basement reveal. The flooding sequence, as depicted on the poster, also illustrates how the wealthy are unaffected by many of the debilitating circumstances that affect the lower classes as they are, quite, literally, above the trouble.

CONNECTOR (REFLECTION)

PARASITE’S ARTWORK

REFERENCE

Lee, D. (2021, September 23). Script Secrets from Oscar-winning Film “Parasite.” The Script Lab. Retrieved January 26, 2022, from https://thescriptlab.com/features/14590-script-secrets-from-oscar-winning-film-parasite/ Baker L. (2020, February 28). Cinematography Breakdown: Creating the Look of Parasite. The Beat: A Blog by PremiumBeat. Retrieved January 26, 2022, from https://www.premiumbeat.com/blog/creating-the-look-of-parasite/ Desborough, J. (2020, February 10). Parasite director: Who is Bong Joon-ho? Inside the career of Oscar-winning director. EXPRESS. https://www.express.co.uk/entertainment/films/1240235/Parasite-director-Who-is-Bong-Joon-ho-career-Oscar-2020-winners Lee, S. T. (2021, January 6). Film as cultural diplomacy: South Korea’s nation branding through Parasite (2019). Springer Link. https://link.springer.com/article/10.1057/s41254-020-00192-1 Shin, H. (2020, February 10). 'Parasite' reflects deepening social divide in South Korea. Reuters. https://www.reuters.com/article/us-awards-oscars-southkorea-inequality-idUSKBN20414L Silva, G. (2020, September 3). Parasite: 10 Cultural Details Only Korean Audiences Would Understand. SCREENRANT. https://screenrant.com/parasite-cultural-details-only-korean-audiences-would-understand/ Kench, S. (2020, April 20). Parasite Movie Analysis. https://www.studiobinder.com/blog/parasitemovie-analysis/ Kang-ho Song. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm0814280/bio Woo-sik Choi. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm6079248/bio So-dam Park. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm6476224/bio Jang Hye-jin. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio Sun-kyun Lee. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio Cho Yeo-jeong. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio Ji-so Jung. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio Hyun-jun Jung. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio Lee Jeong-eun. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio Myeong-hoon. (n.d.). IMDb. Retrieved January 28, 2022, from https://www.imdb.com/name/nm4525883/bio