‘Parasite’, the absolute winner of the 2020 edition of the awards OscarIt is not only appreciated for its formidable performances and technical aspects; it also has a powerful social message that few rivals had immortalized as did the work of Bong Joon-ho.
It’s the family story Kim, an impoverished clan whose members find employment for the wealthy family Park. Suddenly they are full of money and enjoying the good life in their employers’ beautiful home. However, neither the Kims nor the Parks are what they seem, a fact that comes to light in an explosive twist of the plot towards the middle of the road. What happens from there works as both an adventure and a socio-economic satire.
Although the huge pitch shift curve that the film throws towards the middle of the footage may seem to come out of nowhere; there are indications to the contrary at all times.
Full of suspense, action and mystery, ‘Parasite’ Not only does it keep viewers on the edge of their seats with its dark and comical plot, but it also contains many meanings and intellectual messages, reflecting on deep-rooted problems in society.
So what kinds of visual metaphors, subtle omens, and other funny easter eggs should you keep in mind the next time you watch Parasite? We share you four:
Stink bugs are an ironic parallel to Ki-Taek’s disdain for the Parks
Kim Ki-Taek (Song Kang-Ho) you hate stink bugs enough to put up with dangerous fumes in your home to get a free pest treatment, but you relate to the annoying bug more than you realize.
The Parks, at one point, mention a certain foul odor that Ki-Taek carries, unconsciously and sensitively with him, as a reminder of his poverty, which ultimately leads him to murder Park Dong-Ik (Lee Sun-Kyun) and to realize that he is the “plague” of this family.
The stink bug’s brief appearance in the opening scene of ‘Parasite’ It seems like an unimportant exhibition detail; but in reality it is a brilliant omen and contributes to the film’s unique use of smell as a symbolic tool for class distinction.
A close-up of Parasite is framed to distinguish the characters’ social class
Almost all the details of ‘Parasite’ they are noteworthy for their thematic value, including the framing of some of their key moments.
When Ki Woo arrives at the Park house; Moon Gwang (Lee Jeong-Eun), notify the lady of the house, Park Yeon Kyo (Jo Yeo-Jeong). If you look more closely, you see that the corner of the window creates a distinctive line that separates the well-to-do housewife from her impoverished interlocutors, providing a visual representation of what separates the characters on a socioeconomic scale.
The descent of the Kims home represents their descent from social class
We’ve focused on many of the cleverest examples of symbolic class commentary in Parasite, but the most remarkable, devastating, and strikingly beautiful visual representation of this topic is the journey of Ki-Taek, Ki-Woo Y Ki-Jung home in the middle of a storm.
All the flight from the house of Park is a literal descent of several flights of stairs to reach his neighborhood of collapsed houses, showing for the first time in the entire film what he really “under” that fall Kim from the place occupied by Park on the economic totem.
The Park family owns a collection of Alfred Hitchcock films
One of the greatest creative inspirations of Bong Joon-ho is Alfred Hitchcock, the master of suspense behind classic thrillers like ‘The birds’ or ‘Vertigo’. Its influence is evident in ‘Parasite’, from the design of the numerous staircases used at crucial moments in the film, inspired by the house of Bates in ‘Psychosis’; even a look at the films from the legendary filmmaker’s catalog featured in the family’s personal collection Park.
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Parasite: 4 secrets you did not know about the Oscar-winning South Korean film