"Parasites (2019)" Movie Review Essay & Film Analysis

July 4, 2019 in rolling out the film "Parasites" Korean director Joon-ho Pont, which this year won the "Palme d'Or" at the Cannes Film Festival. Despite the eternal discussion worthy winner, this time with the main film of the year and the first Korean owner of this prize seems to be everyone agrees.
Basement unsightly fugitive quarter to which direct fire directed local drinkers emptying. Light street lamps, hardly penetrates into the room, making it appear through the window much more comfortable than inside. The absence of the Internet and the need to search for wi-fi from the nearby coffee shop in the basement room uncomfortable. It was there that the family lives classical quartet, consisting of father, mother, son and daughter, having no work, and, as a consequence, to nothing tending. To somehow prolong their existence, in the evenings they gather pizza boxes, making it with undisguised contempt and indifference, and it seems that their laziness has finally ceased to control myself. But fate, decided to take pity on such a spineless characters, gives them a ghostly chance for salvation.
best friend's son, was leaving for studies abroad, encourages his friend to a comfortable and heated seats tutor a young girl who is also a member of the family perfectly folded Quartet only excessively rich and powerful. The contrast between the main characters, the family Pakov has all the pleasures of life, and nothing does not deny, indulging Luxury mansion, perfectly manicured lawns and all types of workers, bustling underfoot.
Such gifts must be used. Sleight of hand, virtually no fraud, only miniature bases, and after a while father works in the house of the driver, his mother - housekeeper, daughter teaches drawing young son of a wealthy family, but a son continues repetitorstvovat and starts a relationship with her daughter Pakov. They adjust at the expense of the fittest, and the gold unit of society itself about the family ties of its workers are not even aware. Parasitism of clean water, but it is not the only one. Parasites on the patient's body is much more.
Mon Jun-ho is familiar to Russian-speaking audience, even though that is not so often found in theaters. It is clear that in the age of digital technologies for the real masters of no danger to remain unheard, and the same "Memories of murder", "Through the Snow" or "Okcha" came with a pretty big success to the audience. It may be noted and the love of the youth idol of Quentin Tarantino's directorial works to Korean, which also served as a capacity audience's attention. However, to this popularity can not use any adjectives, but the word "relative" - ​​it did not bring Pont Joon-ho big awards and certainly not enter his name in the pantheon of directing. Even contracts with Netflix failed to do with his career that could make created on home territory for the native audience picture "Parasites", which looks like another nod to multiculturalism, where the identity and integrity of the individual do with the magic of the movie much more than investments or big-name cast casting
By the way, the same arguments have been used for almost a year ago in the address of the previous holder of the "palm." - tape Hirokazu Koraeda called "store thieves", who with the help and Japanese director also looked into the lens of their own society. Ironically, and what ties together with the main characters of the two bands are identical to each other. In both cases, the Asian directors have put at the center of a small picture of the family income with propensity for fraud. But if Koraeda socially marginalized own journey relied on the tragedian and feelings, the Pont Joon-ho decided to charge the intersection of the upper class and the lower classes absurd smashing from the eternal abyss of emptiness.
Genre of this film are parasitic on each other like families. Here arises a thriller and social drama, and a demonstration of the golden life, and black comedy in which each genre elements easily mimics. On the implication of social lift and ineradicable estates population where blasphemous and fancies of the rich, and the decline of the poor, it is impossible to watch without hysterical laughter that is the time to break into a tragic course of events and to take away his text printed for a great moralizing sermons. Criticism of the capitalist system and the mustiness of the bourgeoisie - the mission of a strong spirit, but what could be more boring than this over the years, becoming more and more commonplace and gloomy tradition of art. Can not you make it extremely tough and extremely funny, causing other viewers' perception? Mon Jun-ho does not avoid playing a cat-and-mouse with the grotesque, deliberately overdoing and twisting their way escape. And it seems it is truly amusing.
Particularly surprising is the fact how easily transformed into folding story plot in which everything though and packed into reality, but is a paradox and deviations. The more accumulated farce, close to the likeness of absurd news that collections are now very popular in the global network of space, the compact it fits in the usual life collisions that only distinctive structural and inside store are the same constant and low-lying problems. Human parasitism herein quantity, working in both directions - from poor to rich and back again. And straightforwardness director, to promote this core idea of ​​non-stop elevator, makes any apparent surprise inscribed in the order of the endless everyday farce.
The "parasite" all do as they want. Tops initially focused solely on himself Nizam allowed to realize their sordid and perverse thoughts.
strength of the bottom is in momentary cruelty and intolerance, but also within a long time period of confrontation fades. The film adroitly mixes black with white and scoffs at attempts to divide the actions of people who are assigned to their position and status. How can root parasitism one over the other? Violence and humor. Only thanks to them to determine the disposition of the strings begin to evolve, the system will change from one state to another, almost making his way outside the house and only enjoying the lawn in front of him. Each of the characters will own trial that he was proud to have failed. The audience will feel as their own doom, but soon forget about it, because the truth can easily be dissolved in the absurd real time.

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