Criticism | Parasite - Cannes Winner, Movie Is A Powerful Survival Delirium
Golden Palm Winner at the 2019 Cannes Film Festival, Parasite (Gisaengchung) is the masterpiece of South Korean director Joon-ho Bong. Although it is considered a critical cliche to adjective a “masterpiece” film production, this is the case for granting this qualification on the merits of cameraman, photographer Kyung-pyo Hong (In Flames) and screenwriters, Bong and Jin Won Han (Okja), by presenting us with this unusual journey.
The feeling is that Joon-ho Bong has reached its peak since the fascinating The Host (2006). Bringing together the issues of social class, family drama and comedy of adverse situations, presented in Mother (2009), Expresso do Tomorrow (2013) and Okja (2017), the filmmaker masters his orchestra and awakens the most frightening preludes to us. social differences. & nbsp;
Our walk begins with brothers “Kevin” (Woo-sik Choi) and “Jessica” (So-dam Park) looking for a WiFi signal from somewhere nearby. The impression of the Kim family comes in the first few minutes of projection, when the camera features a basement flat with cans and boxes around the corner and young people squirming to find an efficient signal next to the toilet. In an environment of misgovernance, the family deals with drunkards who piss at their window and earn a few bucks by setting up boxes for a pizzeria. & Nbsp;
Unfortunate but shrewd at coping with the harshness of everyday life, luck seems to change when a friend of Kevin asks him to replace him as an English teacher for a young girl from a wealthy family. Suddenly Kevin finds himself in a luxurious mansion and his first step is to win the trust of matriarch Yeon-kyo Park (Yeo-jeong Jo) and secondly the heart of fragile teenager Da-hye Park (Jung Ziso). Soon, the young man architects getting a job for each member of his family within that same space.
Until then, Maestro Bong's construction sounds like a funny sonata with elements of humor in the so-called “smart solutions,” which all sound surprising and completely believable to the viewer. This construction is successful in the comedies Eleven Men and One Secret (2001) and Master's Trick (2013), however, this is only the first part of the spell of unleashing “parasitic” criticism embedded in the work. & Nbsp;
With a storm like the breaking of the status quo - in which the destitute Kim family enjoyed the wealthy Park family assets during a vacation trip - the script takes an unexpected 360 ° turn. From this moment, the comic shuffles with the sordid and, as in The Express of Tomorrow, reveals a struggle for survival within a microcosmic structure. & Nbsp;
Along with the torrential rain, the plot destabilizes its followers immersed in the flood of new information. As each drop spills into the pathways and channels, the possibilities of the movie become increasingly mysterious and the objects, the dialogues, all become a plausible clue of the future.
The whole mise-en-scène of confronting the fear and horror of human flogging, from the beginning to the last minute of this survival fable, is a cinematic delirium. Thus proving that Joon-ho Bong is one of today's greatest achievers. It delivers exactly what the public expects as they begin to pay attention to the pulsating beams of light on the screen: delight. & Nbsp;