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Parasite (2019 film)

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Parasite
South Korean theatrical release poster
Directed byBong Joon-ho
Screenplay by
Story byBong Joon-ho[1]
Produced by
  • Kwak Sin-ae
  • Moon Yang-kwon
  • Bong Yok-cho
  • Jang Young-hwan
Starring
CinematographyHong Kyung-pyo[2]
Edited byYang Jin-mo
Music byJung Jae-il[1]
Production
company
Barunson E&A[1]
Distributed byCJ Entertainment
Release dates
  • 21 May 2019 (2019-05-21) (Cannes)
  • 30 May 2019 (2019-05-30) (South Korea)
Running time
132 minutes[3][4]
CountrySouth Korea[3][1]
LanguageKorean[1]
Budget₩13.5 billion[5]
(~US$11 million)
Box office$167.6 million[6][7]

Parasite is a 2019 South Korean black comedy thriller film directed by Bong Joon-ho, who also co-wrote the screenplay with Han Jin-won. It stars Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, and Park So-dam, and follows the members of a poor family who scheme to become employed by a wealthy family by infiltrating their household and posing as unrelated, highly qualified individuals.

The film premiered at the 2019 Cannes Film Festival on 21 May 2019, where it became the first Korean film to win the Palme d'Or and the first to win with a unanimous vote since 2013's Blue Is the Warmest Colour. It was then released in South Korea by CJ Entertainment on 30 May 2019. It received universal critical acclaim, and has been hailed as one of the greatest South Korean films ever made and one of the best films of the 2010s. It has grossed $167.6 million worldwide, becoming the highest-grossing South Korean film.

Among its numerous accolades, Parasite won a leading four awards at the 92nd Academy Awards for Best Picture, Best Director, Best Original Screenplay and Best International Feature Film. It became the first South Korean film to receive Academy Award nominations, as well as the first non-English-language film to win Best Picture. At the 77th Golden Globe Awards, it won the award for Best Foreign Language Film. It received four nominations at the 73rd British Academy Film Awards, winning Best Film Not in the English Language and Best Original Screenplay. It also became the first non-English language film to win the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture.

Plot

The Kim family—father Ki-taek, mother Chung-sook, daughter Ki-jeong and son Ki-woo—lives in a small semi-basement (banjiha) apartment, have low-paying temporary jobs, and struggles to make ends meet. One day Min-hyuk, a friend of Ki-woo’s and a university student, gifts the family a scholar's rock, which is meant to promise wealth to whoever possesses it. He suggests that, when he leaves to study abroad, Ki-woo should take over his job as an English tutor to the wealthy Park family's daughter, Da-hye. Ki-woo must pose as a university student to be hired, so Ki-jeong forges the necessary documents, though Ki-woo vows that he will someday attend university for real.

After Ki-woo successfully interviews for the tutoring job, the Kim family begins to infiltrate the home of the Parks by recommending each other's services, posing as unrelated but sophisticated and skilled workers. Ki-woo tutors and begins a romance with Da-hye. Ki-jeong poses as a renowned art therapist, who agrees to counsel the Parks' restless young son, Da-song. Mr Park's chauffeur is fired after Ki-jeong frames him for having sex in the car and Ki-taek, a former valet, is hired. Finally, Chung-sook takes over as the Parks' housekeeper after the Kims exploit the long-time housekeeper's severe peach allergy and convince Mrs. Park that she has tuberculosis.

When the Parks leave home to go on a camping trip for Da-song's birthday, the Kim family revel in the luxuries of the mansion. Unexpectedly, Moon-gwang, the former housekeeper, returns, saying she has left something in the basement. She reveals a hidden entrance to a secret underground bunker, created by the architect and previous owner of the mansion, whom Moon-gwang also worked for. Over four years ago, before the Parks moved in, Moon-gwang's husband, Geun-sae, began living underneath the home to hide from loan sharks. Moon-gwang pleads for Chung-sook to help Geun-sae survive in the bunker. However, after she finds out the truth about the Kim family, she threatens to tell the Parks if they do not, in turn, keep her secret.

Due to inclement weather, the Parks return home early from their camping trip, and the Kim family scrambles to clean up the home, while a brawl breaks out between Moon-gwang, Geun-sae, and the Kims. Geun-sae and a mortally injured Moon-gwang are trapped in the bunker. After Chung-sook serves her dinner, Mrs. Park reveals to her that Da-song had a traumatic experience years ago when he witnessed a 'ghost'—Geun-sae—emerging from the basement, and that the family has celebrated Da-song's birthday outside their house since. As the remaining Kims hide under a nearby table, Mr. Park complains to his wife about Ki-taek's smell.

When the Kims return to their apartment they find it completely flooded due to the raging storm. They sleep in a gymnasium with other displaced people. The next day, Mrs. Park decides to host a lavish party for Da-song's birthday. She invites Ki-jeong and Ki-woo, while Ki-taek and Chung-sook are required to attend as employees. Ki-woo heads down to the bunker with the scholar's rock. He finds Moon-gwang dead, but is attacked by Geun-sae, who bludgeons him with the rock and escapes. Seeking to avenge Moon-gwang, Geun-sae takes a kitchen knife and stabs Ki-jeong in front of the horrified guests. Da-song suffers a trauma-induced seizure upon seeing Geun-sae, and a struggle breaks out between Geun-sae and Chung-sook until she kills him with a skewer. While Ki-taek attempts to help Ki-jeong, Mr. Park orders him to drive Da-song to the hospital. In the chaos, Ki-taek, upset at Mr. Park's repeated insults and his disgusted reaction towards Geun-sae's smell, takes the knife and fatally stabs Mr Park before fleeing the scene.

Weeks later, Ki-woo has survived the attack and wakes up from his coma. He and Chung-sook are put on probation for fraud, while Ki-jeong has died from her injury and Ki-taek, who is wanted for Mr. Park's murder, has gone missing. Both Ki-taek and Geun-sae's motives for the attacks are unknown. Ki-woo continues to scope out the Parks' home, which has now been sold to a German family, and sees a message in Morse code from the flickering lights. It is from Ki-taek, who is now living in the bunker. Ki-woo writes a letter to his father, vowing that he will one day earn enough money to purchase the house, free his father, and reunite as a family.

Cast

  • Song Kang-ho as Kim Ki-taek, father of the Kim family
  • Choi Woo-shik as Kim Ki-woo, son of the Kim family
  • Park So-dam as Kim Ki-jeong, daughter of the Kim family
  • Jang Hye-jin as Park Chung-sook, mother of the Kim family
  • Lee Sun-kyun as Park Dong-ik, father of the Park family
  • Cho Yeo-jeong as Choi Yeon-gyo, mother of the Park family
  • Jung Ji-so as Park Da-hye, daughter of the Park family
  • Jung Hyeon-jun as Park Da-song, son of the Park family
  • Lee Jung-eun as Gook Moon-gwang, the housekeeper
  • Park Myung-hoon as Geun-sae, Moon-gwang's husband
  • Park Geun-rok as Yoon, the chauffeur
  • Park Seo-joon as Min-hyuk[8]

Production

Development

The idea for Parasite originated in 2013. While working on Snowpiercer, Bong was encouraged by a theatre actor friend to write a play. He had been a tutor for the son of a wealthy family in Seoul in his early 20s, and considered turning his experience into a stage production.[9] After completing Snowpiercer, Bong wrote a 15-page film treatment for the first half of Parasite, which his production assistant on Snowpiercer, Han Jin-won, turned into three different drafts of the screenplay.[9] After finishing Okja, Bong returned to the project and finished the script; Han received credit as a co-writer.[9]

The incident of Christine and Léa Papin—two live-in maids who murdered their employers in 1930s France—also served as a source of inspiration to Bong.[10]

The film's title "Parasite" was selected by Bong as it served a double meaning, which he had to convince the film's marketing group to use. Bong said "Because the story is about the poor family infiltrating and creeping into the rich house, it seems very obvious that Parasite refers to the poor family, and I think that's why the marketing team was a little hesitant. But if you look at it the other way, you can say that rich family, they're also parasites in terms of labor. They can't even wash dishes, they can't drive themselves, so they leech off the poor family's labor. So both are parasites."[11]

Darcy Paquet, an American residing in Korea, served as the translator for the English subtitles and worked directly with Bong.[12] Paquet rendered Jjapaguri or Chapaguri (짜파구리), a dish cooked by a character in the film, as "ram-don", meaning ramen-udon. It is a mix of Chapagetti and Neoguri.[13] The English version of the film shows packages labelled in English "ramyeon" and "udon" to highlight to English speakers how the name was created. Paquet believes that the word "Ram-don" did not previously exist as he found no results when he Googled the term as a test.[14] Paquet had the subtitles, on one occasion, use Oxford University as a reference instead of Seoul National University, and in another, use WhatsApp be the messaging application instead of KakaoTalk.[12] Paquet chose Oxford instead of Harvard University due to Bong's affinity for the United Kingdom and because Paquet believed using Harvard would be "too obvious a choice".[14] Paquet wrote that "in order for humor to work, people need to understand it immediately. With an unfamiliar word, the humor is lost."[14]

Filming

Principal photography for Parasite began on 18 May 2018[15][16] and ended 77 days later on 19 September 2018.[17] Filming took place around Seoul and in Jeonju.[18]

The Parks' house, said in the film to be designed by a fictional architect named Namgoong Hyeonja, was an entirely newly-built set.[19] Production designer Lee Ha-jun said the sun was an important factor with building the outdoor set. "The sun's direction was a crucial point of consideration while we were searching for outdoor lots," explained Lee. "We had to remember the sun's position during our desired time frame and determine the positions and sizes of the windows accordingly. In terms of practical lighting, the DP [director of photography Hong Kyung-pyo] had specific requests regarding the color. He wanted sophisticated indirect lighting and the warmth from tungsten light sources. Before building the set, the DP and I visited the lot several times to check the sun's movement at each time, and we decided on the set's location together."[20]

"Since Mr. Park's house is built by an architect in the story, it wasn't easy finding the right approach to designing the house," he added. "I'm not an architect, and I think there's a difference in how an architect envisions a space and how a production designer does. We prioritize blocking and camera angles while architects build spaces for people to actually live in and thus design around people. So I think the approach is very different."[20]

According to editor Jinmo Yang, Bong Joon-Ho chose to shoot the film without traditional coverage. To give them more editing options with limited shots, they sometimes stitched together different takes of the same shot.[21]

Themes and interpretations

The main themes of Parasite are class conflict and social inequality.[22][23] Film critics and Bong Joon-ho himself have considered the film as a reflection of modern capitalism,[24][25] and some have associated it with the term "Hell Joseon,” a phrase which has become popular, especially with young people, in the late 2010s to describe the difficulties of life in South Korea.[26][27] The film also analyses the use of "connections" to get ahead, especially for rich families[28] but also for the poor Kims as well.

Bong has referred to Parasite as an upstairs/downstairs or "stairway movie,” [10] in which staircases are used as a motif to represent the positions of the Kim and Park families as well as those of Moon-gwang.[29] The semi-basement apartment that the Kims live in are common for poorer Seoul residents, despite having several issues such as increased mould and risk of disease, due to their low rent prices.[22] Monsoon floods such as the one depicted in the film commonly damage these types of residences the most.[28]

According to Bong, the ending implies that Ki-woo will not be able to earn the funds needed to buy the house as it shows Ki-woo still in the basement; he described this shot as a "surefire kill" (확인사살), referring to a coup de grace to ensure death.[10] The ending song refers to Ki-woo working to get money to make the house; Choi Woo-shik stated that "It would take hundreds of years for Ki-woo to actually save up the money in order to buy that house" but that "I'm pretty sure Ki-woo is one of those bright kids. He'll come up with some idea, and he would just go into the German family's house, and I think he will rescue his father."[30]

Release

Director and stars at an April 2019 press event.

The film had its world premiere at the 2019 Cannes Film Festival on 21 May.[31] It was released in South Korea on 30 May 2019.[4][17]

Neon acquired the North American rights to the film at the 2018 American Film Market.[32][33] The film's rights were also pre-sold to German-speaking territories (Koch Films), French-speaking territories (The Jokers) and Japan (Bitters End).[34]

It was released in Australia and New Zealand by Madman Films on 27 June 2019[35] (becoming both the highest-ever-grossing Korean film in the region[36] and the distributor's highest-ever-grossing non-English language film in Australia),[37] Russia on 4 July 2019, and in the United States and Canada on 11 October 2019.[38]

The film was originally scheduled to be screened as a closing film at FIRST International Film Festival Xining in China on 28 July 2019, but on 27 July, the film festival organizers announced that the screening was cancelled for "technical reasons."[39]

It was licensed for the United Kingdom and Ireland by Curzon Artificial Eye at Cannes, and had preview screenings with an interview with Bong Joon-ho shared live by satellite on 3 February 2020, followed by the film's general release on 7 February.[40]

Universal Pictures Home Entertainment has released this film on Blu-ray in the US.[41]

Reception

Box office

As of 9 February 2020, Parasite has grossed $35.5 million in the United States and Canada, and $132.1 million in other territories (including $72 million from South Korea), for a worldwide total of $167.6 million.[6][42] It set a new record for Bong, becoming the first of his films to gross over $100 million worldwide.[43]

In the film's United States opening weekend, the film grossed $376,264 from three theatres. Its per-venue average of $125,421 was the best since La La Land's in 2016, and the best-ever for a foreign-language film.[44] It expanded to 33 theatres in its second weekend, making $1.24 million,[45] and then made $1.8 million from 129 theatres in its third.[46] The film made $2.5 million in its fourth weekend and $2.6 million in its fifth.[47] The film's theatre count peaked in its sixth weekend at 620, when it made $1.9 million.[48] It continued to hold well in the following weekends, making $1.3 million and $1 million.[49][50] In its tenth week of release the film crossed the $20 million mark (rare for a foreign-language film), making $632,500 from 306 theatres.[51] The weekend of the Oscars (its 18th of release) the film made $1.5 million from 1,060 theatres, for a running total of $35.5 million.[52]

The film grossed US$20.7 million on its opening weekend in South Korea.[7]

Critical response

On Rotten Tomatoes, the film has an approval rating of 99% based on 393 reviews, with an average rating of 9.38/10. The website's critical consensus reads: "An urgent, brilliantly layered look at timely social themes, Parasite finds writer-director Bong Joon Ho in near-total command of his craft."[53] On Metacritic, the film has a weighted average score of 96 out of 100 based on reviews from 51 critics, indicating "universal acclaim.” [54]

Writing for the New York Times, A.O. Scott described the film as "wildly entertaining, the kind of smart, generous, aesthetically-energized movie that obliterates the tired distinctions between art films and popcorn movies."[55] Bilge Ebiri of NY Mag wrote that Parasite is "a work that is itself in a state of constant, agitated transformation—a nerve-racking masterpiece whose spell lingers long after its haunting final image."[56] In his five-star review of the film, Dave Calhoun of Time Out praised the social commentary and stated that "This is a dazzling work, surprising and fully gripping from beginning to end, full of big bangs and small wonders."[57] Variety's Jessica Kiang described the film as "a wild, wild ride," writing that "Bong is back and on brilliant form, but he is unmistakably, roaringly furious, and it registers because the target is so deserving, so enormous, so 2019: Parasite is a tick fat with the bitter blood of class rage."[58] The A.V. Club's A. A. Dowd gave the film an A−, praising the fun and surprising twists.[59] Joshua Rivera from GQ gave a glowing review and declared Parasite to be "Maybe 2019's best film", further adding, "It's so top-to-bottom satisfying that even being completely spoiled couldn't ruin it – but if you can come to it cold, you'll be floored."[60] Parasite also ranked 1st in a survey conducted by IndieWire of over 300 critics, in the Best Film, Best Director, Best Screenplay and Best Foreign Film categories.[61]

Parasite appeared on over 240 critics' year-end top-ten lists, including 77 who ranked the film first.[62] On Metacritic, Parasite was rated as the best film of 2019[63][64] and ranked 7th among the films with the highest scores of the decade.[65] As of 28 December 2019, it is the 41st highest rated film of all time on the website.[66]

Awards and nominations

Bong Joon-ho garnered widespread critical acclaim for his direction and was awarded the Academy Award for Best Director.
Main article: List of accolades received by Parasite

Parasite won the Palme d'Or at the 2019 Cannes Film Festival. It was the first South Korean film to do so, as well as the first film to win with a unanimous vote since 2013's Blue Is the Warmest Colour.[67][68] At the 77th Golden Globe Awards, the film was nominated for three awards including Best Director and Best Screenplay, and won Best Foreign Language Film, becoming the first ever Korean film to achieve that feat.[69][70]

It was selected as the South Korean entry for Best International Feature Film at the 92nd Academy Awards,[71][72] making the December shortlist.[73]

Parasite became the second foreign film to ever be nominated for Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture since the 1997 film Life Is Beautiful, and ultimately won the category, making history as the first ever foreign film to win the prize.

It was nominated for four awards at the 73rd British Academy Film Awards: Best Film, Best Director, Best Original Screenplay and Best Film Not in the English Language. It is the first Korean film to receive nominations at the British Academy Film Awards (except for Best Film Not in the English Language).

Parasite is the first South Korean-made film to be nominated for the Academy Award for Best Picture at the 92nd Academy Awards.[74] It is also nominated for Best Director, Best International Feature Film, Best Original Screenplay, Best Production Design, and Best Film Editing,[75] making it, along with In the Absence, the first two South Korean films to receive Academy Award recognition in any category.[76]

On 2 February, Parasite won the award for Best Film Not in the English Language, as well as Best Original Screenplay, which they were nominated for at the 73rd British Academy Film Awards. The other two awards they were nominated for but did not win were Best Film and Best Director.[77][78]

On 5 February, Parasite became the first Korean movie in nearly 15 years that surpassed 1 million moviegoers in Japan.[79]

Spin-off television series

An HBO limited series based on the film, with Bong and Adam McKay adapting and executively producing, is in early development.[80] Bong has stated that the series, also titled Parasite, will explore stories "that happen in between the sequences in the film".[81][82]

See also

References

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