Crippled by poverty, the Kim family uses cunning tactics to execute a plan that would change their lives for the better, in the award-winning film, Parasite, that the Endicott Film Club screened last Monday. Nominated for six Academy Awards, the satirical thriller has generated buzz atypical of most foreign films from American critics and audiences and became the first film to be awarded the Academy Award for best picture.
At the surface, the premise of Parasite is simple: the son of working-class parents, Kim Ki-woo (Choi Woo-Shik) deceives the affluent Park family into hiring him, and eventually his entire family, as servants. As the film progresses, it becomes clear that all is not what it seems. The simple, linear narrative quickly transforms into a complex, extraordinary tale of class and ethical struggles.
Kim children use guile means to introduce the Park family to their parents. In order to introduce their parents into the workings of the Park family, Ki-Woo and his sister, Ki-Jeong (Park So-Dam) must provoke their employers to fire the others who work in the house. The Kim family works together to convince Park that her housekeeper, Moon-gwang (Lee Jeong-eun) was hiding tuberculosis.
Unbeknownst to the Kim and Park families, Moon-gwang was hiding a secret of her own. The turning point of the film began when the Park family went on a camping trip, leaving the Kim family alone in the house for the weekend, and this major secret is revealed. The bloodshed that ensued can only be matched by a Quinten Tarintino film.
The rich visual components that accompany the dialogue enhance the storytelling quality. The superb writing and simply fascinating storyline has made director, Bong Joon Ho, and the entire cast into household names this award season. On the surface, the film is filled with rich visual components that hold significant symbolism. The variety of ways that Parasite can be viewed calls viewers to watch and rewatch; consider and reconsider.
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