How Parasite (And Every Bong Joon-ho Film) Critiques Class

Hey. So have you heard about this movie Parasite? Pretty good, right? Well, I’ve got a really hot take about it. Are you ready? The movie is about class. I know! I’m totally blowing your mind right now. In all seriousness, Parasite is probably my favourite movie of last year. It’s wickedly entertaining and efficient
filmmaking. It is also a pretty blunt allegory about inequality,
and I don’t think you have to do a lot of digging to get what director Bong Joon-ho
is trying to tell you. So if the broad strokes of what Parasite is
about are clear, what am I doing here? Well, I wanted to dive deeper into this movie and figure out what it was about, so I went back and watched all seven films that Bong Joon-ho
has written and directed. And I think something really interesting happens
when you look at Parasite in the context of his entire filmography. Here’s what I found. Part One: Nice BECAUSE She’s Rich Many other critics have pointed out that 2019
was The Year of Class Warfare on Film. Between Knives Out, Us, Joker, Hustlers, Uncut
Gems, and Ready or Not, it felt like writers were falling over each other to say: READY OR NOT: Fucking Rich People. But Bong Joon-ho has been on this beat for
twenty years. His first movie came out in 2000 and is…
well his only not good movie… the rest of them are all classics in their genre, but
Barking Dogs Never Bite is pretty stilted. It’s also very uncomfortable given that
it’s main character keeps killing dogs. But I mention it because right from the beginning
of his career, Bong Joon-ho was interested in writing stories about class and how poverty
changes people. In Parasite, there’s a moment when the parents
of the poor family make this observation. Father: She’s so naive, and so nice. Rich but still nice. Mother: Not “Rich but still nice.” Nice because she’s rich. Hell if I had all this money, I’d be nice
too. Even nicer. Father: That’s true, your mom’s right. Rich people are naive. No resentments. No creases on them. Mother: It all gets ironed out. Money is an iron. Those creases all get smoothed out. Barking Dogs is Bong Joon-ho trying to explore
the creases. Much of the film centers on the main character’s deteriorating relationship with his wife, and how their lack of money tears at them. Husband: Who do you think you are. I’m desperate for pennies, and you bought
that dog? And eat walnuts all the time. At one point in Mother we learn that the titular
character once considered killing herself and her child because of their extreme poverty. And in Snowpiercer, otherwise heroic characters
are revealed to have resorted to cannibalism when they ran out of food. In fact, all of Bong Joon-ho’s protagonists
are poor. So… alright. Bong Joon-ho has a topic that he is fixated
on and which crops up in his movies, but what’s interesting is that he doesn’t always portray it in the same way. Part Two: Class Solidarity In Parasite, it’s easy to be nice if you’re
rich. But if you’re poor, it’s a dog-eat-dog
world. This is the idea that dooms the Kim family. It’s the reason they can’t make any actual
substantive change to their situation. None of the poor characters in the film show
any sense of class solidarity. There’s this moment at the center of the
film where everything pivots. Up until this point, we’ve seen a poor family
of four con their way into working for a rich family of four. The son becomes their tutor, the mother their
housekeeper, ect. Doing this involves getting their existing
housekeeper fired, but then the former-housekeeper shows up in the middle of the night and reveals
that there is a secret subbasement beneath the rich family’s home. There they learn that the housekeeper’s
husband had been living in secret to avoid debt-collectors. The housekeeper begs for the mother’s help
to keep him concealed and she makes a direct appeal to the idea that they belong to the
same class and should look out for one another. But the mother declines Then, when the housekeeper gets the upper
hand, it’s the mother’s turn to beg for mercy on the grounds of solidarity, calling the
housekeeper “sis.” Both characters ought to realize that their
interests were aligned from the start. But they’re not rich, so they can’t be
nice. The rest of the movie involves one poor family
trying to dominate the other poor family, while the rich family is oblivious to their
life or death struggle (at least until the end). Lower class solidarity is absent from Parasite. It’s also absent from another one of Bong
Joon-ho’s films, Mother, about a poor mother trying to prove that her mentally disabled
son isn’t guilty of killing a local girl. As the director himself has said, “in Mother,
you see the have nots and needy clawing at each other and hurting one another.” For example, in one scene, the Mother is selling
herbs to a customer, who threatens to turn her into the police for conducting acupuncture
without a license just so she can get a better price on the herbs. In another, when the mother goes to the school
of the murdered girl, she is violently thrown out for asking questions about the incident. We don’t really see an upper class in that
movie, but the world it depicts is a harsh one where the poor do not help each other. This is the case in Bong Joon-ho’s more
grounded and realistic films, but in his fantastical genre films, there IS a sense of class solidarity. In some sense, the idea of the lower classes
showing solidarity IS fantastical. In the monster movie, “The Host,” the
main characters are a family who run a small kiosk on the Han river. They are working class and, even though they
begin the film a dysfunctional family, as Bong says, “you see the solidarity between
them, they save each other and they gather their strengths together.” At the end of the movie, the family teams
up with a homeless man to kill the beast. At the same time, a protest movement forms
to oppose the government’s use of toxic chemicals. So class solidarity exists in spades in The Host and
it is what allows them to defeat the monster. It also exists in his dystopian sci-fi action
movie, Snowpiercer. In that movie, the lower classes are trapped
in the rear cars of a train. They are oppressed by a totalitarian regime,
but work together to improve their situation. But in The Host and Snowpiercer, the threat
is obvious. The people at the back of the train in Snowpiercer
are intimately aware that they are the lower class, and that there are basically no legitimate
means of upward (horizontal?) mobility. Tilda Swinton: A hat belongs on the head. I am a hat. You are a shoe. I belong on the head. You belong on the foot. The
lower classes are stuck. And while their conditions are materially
worse than the characters of Parasite, the fact that they are worse offers them clarity. They know that they must fight together. The same is true in The Host: when a big crazy
sea monster is eating people, it’s pretty obvious that people need to unite. The lines are blurrier in Parasite. The classes aren’t physically segregated
like they are in Snowpiercer. A poor person can “infiltrate” a rich
person’s home. But they can’t become one of them as Ki-woo,
the son, so desperately wants. There is an invisible line that separates
them. The rich father constantly reminds us of this. Mr. Park: Never cross the line (2 clips). This is what Karl Marx called class consciousness,
an awareness of one’s position in a class system. The protagonists in Snowpiercer have class
consciousness. The Kim family in Parasite, on the other hand,
specifically the son, suffers from a form of “false consciousness.” Now like any good film critic, I determine
what the themes of a movie are by looking it up on Wikipedia, and according to the Parasite
Wikipedia page, “The film uses staircases to represent the positions of the Kim and
Park families as well as those of Moon-gwong.” Yup, that’s it. That’s all the themes in the movie. Okay, but yeah the movie uses where the characters
live vertically as a signifier of their class position. The characters walk uphill to get to the Park’s
big and beautiful house that has wide open windows that fill it with sunlight. The man who represents the lowest class lives
in a basement devoid of light. The Kims however live in an in-between state,
a half-basement, a kind of apartment that is common in Korea. So while they live underground like the housekeeper’s
husband, they get some light through the window, like the rich family. As Bong says, it’s a house that “wants
to believe it’s above the ground.” This is why the opening and closing shots of the
movie emphasize that window before moving down to show the subterranean characters. The fact that they have that window, that
ability to see out to a better life, provides them with hope. But it’s that hope that is also stopping
them from recognizing the reality of their situation, which is what the fancy term false consciousness means. It deludes them into thinking that they are
above Moon-gwong and her husband, that they are not part of the same class. And it deludes them into continuing to try
and move up inside a system where that is impossible for them. That’s what Friedrich Engles called false
consciousness. This is all communicated in the final shots
of the film. After learning that his father is now trapped
in the rich family’s basement, Ki-woo fantasizes about becoming rich enough to buy the house
and his father’s freedom, of winning at capitalism and saving his family. We see his fantasy and almost believe it is
real. But it is not. As Bong Joon-ho says: “Maybe if the movie
ended where they hug and fades out, the audience can imagine, ‘Oh, it’s impossible to buy
that house, but the camera goes down to that half-basement. It’s quite cruel and sad, but I thought
it was being real and honest with the audience. You know and I know — we all know that this
kid isn’t going to able to buy that house.” Oof… heartbreaking Bong Joon-ho’s recent movies have ended
on shots that echo the endings of his previous movies. In Snowpiercer, two people head out into the
wilderness to an uncertain future, just like in Barking Dogs Never Bite. In Okja, Mija and her grandfather sit down
for a meal, their family unit restored after a traumatic experience, just like in the Host. And in Parasite, the boy stares directly into
camera and sighs. It’s a repetition of the ending to Memories
of Murder. In that movie, we follow a cop trying to catch
a serial killer. At the start, he claims he has the ability
to determine someone’s guilt by making eye contact with them. Over the course of the movie, his confidence
in his ability wavers until it breaks entirely. In the coda of the movie, he revisits the
first crime scene years after the fact and learns that the culprit had likely also returned
to the spot recently. He then turns his eye contact method on the
audience, looking directly into the camera, as if searching for the culprit among us,
asking us what we know that he doesn’t. In the last shot of Parasite, he too shares
a look with us. While the letter he writes his father is filled
with the hope of someday rescuing him, his expression is saddened and fatigued. And yet we know that he’s going to try, that he’s going to work within the system to try and beat the system. But we know just how unlikely he is to succeed. Or maybe we don’t? Maybe we believe the same things he does. And that’s why this movie cuts so deeply. But that’s just what this movie is saying. I’m not exactly sure it’s what Bong Joon-ho believes. Throughout his filmography, Bong Joon-ho keeps
coming back to this problem of what the oppressed can do to better their situation. And he’s come to several conflicting answers. In Snow-piercer, Curtis believes they can
liberate themselves by moving forward, up to the front of the train. That if they can get to the front, they’ll be free. But there, he learns that he is wrong. That his revolution will only perpetuate the
hierarchy that leaves so many with nothing. Only Minsoo, a character who lives on the
only part of the train with windows, realizes that the only way for them to win is to go
outside the train, to blow up the system, But doing that causes a near total destruction
of the train and everyone on it. There are only two survivors that we know
about who head out into an uncertain wilderness to hopefully restart the human race and avoid
the mistakes of the past. But even that is not a given. Unlike the son in Parasite, they are not deluded
into thinking they can win inside the system… but outside the train isn’t that great either
is it? Is there another solution? In Okja, we get a somewhat optimistic ending. The film is about a young Korean farm-girl
who is trying to save her pet superpig from getting sent to an American slaughterhouse. At the climax of the movie, Mija has tracked
Okja to the slaughterhouse where she pleads with the CEO of the corporation to spare Okja’s
life, but the CEO is immovable. She only responds to money not to emotion. Finally, Okja remembers she has a golden pig
statuette and offers that in exchange for the real pig, and the CEO accepts. So no real change has been made to the system
here. Mija has to play by the rules of capital to
accomplish her goals. And even then, the film makes abundantly clear
that it is only a small victory. Okja and one other pig are saved. But we watch in horror as the rest are herded
to the slaughterhouse. It’s a small story taking place inside a
big system. The happy ending is only achieved by making
a personal choice to live outside of that system. So we have three different endings here: one
where the system comes crashing down, one where characters leave the system unchanged,
and another where the system is unchanged, but remain trapped within it. Bong Joon-ho movies are great at confronting
and depicting the horrifying effects of economic systems, but they don’t provide easy answers
or solutions. There is no fully heartwarming victory to
be found. His last three films are, in one sense, straightforward allegories. They are very different from his earlier films. But the fact that
they don’t necessarily agree with one another adds a texture to each of them. In brief, his movies consistently portray
lower class characters. Sometimes those characters show solidarity
with other people within their class, and sometimes they do not, but solidarity is always
recognized as something that is needed. But when it comes to how to actually change
the systems that are creating their problems, his films find answers that are incompatible
with one another. They are variations on a theme, a director
digging for answers to the central unsolvable problem of our current social and economic
stratification. Individually, they can feel didactic. Collectively, they feel inquisitive. Parasite is a phenomenal standalone film. It’s even better as the culmination of an
incredible career. Bong Joon-ho’s films are stuffed with political
messages, but they also have wonderful, fully fully-formed characters. If you want to learn a few more techniques
about how to write more believable characters, then check out this course on Skillshare,
the sponsor of this video. The course is by Sabaa Tahir, the author of
the New York Times bestselling series An Ember In The Ashes. If you want to give it a look, or if you want
to try out the thousands of other classes on writing, film production and more that
Skillshare has to offer, then click on this link in the description of this video. The first 500 people to do so will get 2 months
of Skillshare for free and unlimited access to all of their classes. Thanks for watching everyone. If you like what I do here and want to help
me make these videos even better, then consider pledging to my Patreon page. This probably isn’t going to be the last word I’ll say about Bong Joon-ho So if you want to help me make another video about him, you can pitch in as little as $1 a video. A big thank you to all of my current patrons and as always, keep writing everyone.

100 thoughts on “How Parasite (And Every Bong Joon-ho Film) Critiques Class”

  1. Glad he and his team won Big!! This will hopefully shine a light on so many movies people write off because they have to actually read subtitles.

  2. Is it the Korean actors or just the style of Korean and many Japanese films that come off as hokey and overly animated, especially when they're pretending to be drunk or angry.

  3. That's an interesting take on the last scene of Memories of Murder; makes a lot of sense.
    I also took it as a super meta take – he knows the serial killer is in the audience,
    watching the film (since they still hadn't caught him when the film was made), and when he says the killer could be "ordinary"
    it not only creates a tension with the audience that the killer could be among them watching and they'd never know,
    (and by extension, killers could be any ordinary we may think we know)

    but also a goad to the killer himself: We know you're watching.

  4. i saw Mother at 16. and let me just say it fucked me up. after okja which is good but not great Parasite is seriously a banger of a movie.

  5. Yo Joon-Ho should direct a fall of a rich man to poverty only to reveal he was in poverty all the time, correct me if I'm wrong

  6. I heard the stare ending in Memories of Murder also serve as sort of a 4th walll break
    Since it's based on a real story and the real killer were never captured, he looks at the audience as some sort of message if the killer were to see the movie

  7. Apart from the 3 classes in the movie, there's a fourth one: the people the Kims try to present themselves as in the first half, further establishing just how big the class divide between the Parks and the Kims really is.

  8. The fact that the two poor families were fighting each other was one of the most depressing things about parasite, I was just like dang y'all could easily work together to swindle the rich family and both have enough to live on but no, whoever got into a more powerful position decided they wanna get rid of the other family. It's like the poor people were looking into a mirror and didn't like what they saw so they just wanted to get rid of the image by any means necessary and it all ended with both families losing smh. You see this all the time in real life, poor people lose their jobs but instead of blaming the corporations and the politicians they've bought, they blame immigrants, even though we all know the rich love immigration because they get to exploit immigrant labor. This is how they get poor people to constantly vote against their own self interests: "No you guys are awesome and so are we the rich, we're not the problem, the problem is Mexicans and people on food stamps begging for handouts, they're the ones sucking the life blood out of this country and they deserve your ire".

  9. The scene reminded some South Koreans of an ongoing scandal that led to the resignation of Justice Minister Cho Kuk.

    Cho resigned in December and is being prosecuted for falsifying documents regarding family investments and efforts to gain university admissions for his children. He has denied wrongdoing.

    "Parasite's win is a really great thing, but it was bitter to see the father impressed with his children's forgery skills and their plans to get the jobs," one Twitter user wrote, referring to one of the main characters.

  10. When it comes to class solidarity I think it also is important to point out that the classes only came together when a supernatural event happened saying that in a normal society class solidarity doesn't exist.

  11. the pareto distribution is a bitch. but it's almost a force of nature.

    whenever i think of that, i think of these kinds of stories where people agonize over the problems of poverty and it evokes the notion of someone taking GRAVITY personally. gravity is a force of nature. there's no sense in contemplating the rightness or wrongness of it. because regardless, it doesn't affect gravity in the slightest. but if you DID take it personally, you'd get a lot of stories LIKE THIS… about how much of a problem gravity is and how evil it is.

    if you reframe poverty as simply a reflection of the pareto principle and recognize that this principle is indeed like a natural law, things make more sense and there's less needless passion aroused.

    but a rising tide DOES lift all boats and the march of time plus technological progress seems to be a big part of the rising tide. even being flat out homeless now is better than some versions of medieval serfdom. most homeless folks have a cel phone plan for instance.

    you cannot have equality with freedom and if you have freedom, you cannot have equality. gradients of rich and poor will and probably MUST exist as long as people themselves are not identical.

    and this is just like gravity. no point in getting worked up about it. it's just how it is.

  12. Wow. Thank you for doing the work of collecting and comparing these movies. It's a level of commitment to "seeing and understanding" that most consumers are totally oblivious to.

    You're doing good work!

  13. This is s good video but I vehemently disagree with your assessment of class in The Host. The family itself isn't a symbol of solidarity of class but a solidarity across class. Or to be more accurate, social function. You have a poor father, a rich businessman uncle, a star athlete aunt… those aren't classes, but rather roles in a functioning society that have to come together to take down a monster in the same way the masses of undefined class come together to protest monstrous government oppression.

  14. I think it's interesting that despite the obsession in American spheres of exploring identity as it pertains to race and orientation, the ultimate winner of the oscars was a movie about class that transcends these boundaries and speaks universally

  15. bro, there is a clear solution. Give people money. Give people a Basic income so the poor can lift themselves up through the capitalist system.

  16. As a Bong Joon-ho fan since he released The Host (yeah, since that long), I would highly recommend Snowpiercer (not the Weinstein cut), Mother and Memories of Murder.

  17. I think the film is more about Capitalism than class. How Capitalism's grind culture has "infected" South Korea (and perhaps larger society). How the working class have to fight each other under the rule of the super wealthy.

    I think the use of the Native American imagery and the rich family's obsession with the US lends some credence to my reading.

  18. It was a very good film. But left me depressed and not hopeful, clearly because I’m not in the 1%.This film made the struggle seem even more useless. Even in the United States we fool ourselves that we can “rise above” and be more. But we are still limited by lack of power and/or money to make it happen.

  19. "But we all know that the boy will never be able to afford the house, even with his fathers life hangs in the balance…." because there is no balance.

  20. Okja and Snowpiercer were TERRIBLE! Not subtle, original, nor meaningful at all. I can't imagine Parasite will be any better…

  21. Well … conscience or empathy is as real as "class consciousness" in these examples shown here. We can invent as many consciences as we want. How about conscience of rapist or brown, yellow, green and people with cut hair?

    The reality to which the concept "conscience" refers (the self) cannot be subjugated to class, ethnicity, taste, hobbies, hairstyle, disability, humor or religion for obvious reasons. The perception of how much someone earns at the end of the month is integrated into the self, the awareness of reality as a whole at that very moment in which I exist. This leads us to understand that we can't have several consciences or sub-consciences at the same time, but only one that encompasses all our intuitions, perceptions, emotions etc. So consciousness as such ins't about knowing, for example, just someone's own social condition in a given time and place, a tiny perception of reality as whole that comes together with thousands of others, whether I'm resting or listening to a politician.

    Using the term "class consciousness" as a description and not a figure of speech leads us to contradictions in terms, concepts and logic.

  22. not only that they cannot be nice do to being poor and not having class solidarity, but also that their efforts in class solidarity would not help them out of the situation. Thier wages would could not be saved up in their lifetime to get out of poverty…not only is being poor a reason for them not being nice, but the fact that being "nice" would grant them friendship/support but not basic necessities…that's pretty darn hard to ignore in an effort to create connections/share troubles within your class

  23. i think he doesn't look for a solution in this one, u know its hard to imagine a different world from the last spot of the world system, they think they first need to up but not to change the system just to fill up with the system, in that point he made the construction of the chars in the movie… cause they are a declassed chars, BJH just are saying to u this is the problem…and exist, its not some kind of marx fantasy, is there, in the mirror u look at morning…

  24. Ki woo should have worked with the daughter only by himself..never get his family involved. And then work his life up and marry the rich daughter.

  25. 8:42 This is very obvious in the scene where they escape the house and end up descending staircases in the rain for the next several minutes until they reach their home. :,(

  26. so…am I the only one that though it was good but kinda eh? sure it had its moments and some amazing plot twists, but the first hour is soooooo booooooring….also, living underground and only briefly coming out to steal food? I mean…wouldn't it be much easier for both characters to just go to prison? also, I disagree that being rich makes you nice. it just means that it becomes easier to avoid things that you don't like. but when confronted with something unpleasant to them, like the rich guy and the smell, we saw how nice he suddenly was
    what I really liked was the emphasis on the smell and the disgust and discomfort the rich and poor guy showed respectively

  27. I feel western critics and reviewers have this weird revelation-like and almost weaponized attitude over the portrayal of frictions between rich and poor people in this movie. Meanwhile, the Eastern and Eastern European audiences are just like 'duh'.

  28. You got that backwards, dude. They say they will be nice if they are rich. The movie's saying that's bs because they don't show mercy to families less fortunate than them.

  29. You missed one thing – the poor don't steal, they do, indeed trick their way into the rich man's household, but only to work like dogs. While the rich don't do shit.

  30. I think Jung-woo Ha and Kang-ho Song are talented actors . it took me a while to figure it out that Kang-ho Song played in Snowpircer and Jung-woo Ha played the villain in the movie Chaser. i think it's time that foreign actors as well be nominated actors categories . both deserve to be recognized for their talents , at least Dong-seok Ma got cast into The MCU .

  31. It is simply a lie that rich people can be nice and poor people can't. Or that rich people don't have any "creases." Poverty is not a virtue and wealth is not a vice.

  32. While I get what the director was trying to say with this movie, I got a completely different takeaway: being a deceptive, selfish asshole is a great way to stay poor.

  33. I got the impression that the deepest message of the movie is:
    "Yeah sure, rich people are bad, economic inequality is bad, but if you DARE try to change things in a way that is even slightly against the rules, you become far more evil than the system, and will be punished viciously for it. So either resign to your station or get into an orderly line in a system that is rigged against you."

  34. i always thought the mother was absurd for not helping the old housekeeper. genuinely there was no reason not to, it just shows that poor or not, she's an awful person.

  35. This film from Korea is winning plaudits as a strange, well-made dark comedy. But more than that, writes Irang Bak, its message about inequality is universal

  36. Dad didn’t like to make plans and mr. parks is making plans to save the cake bearer which goes wrong plans never work out. The son has a plan also that didn’t work out. Wonder how well the plan to exist in bomb shelter will work out. In the end the son is making another plan. To buy the house and save his father. Wonder how that will work out. He should be planning what to do when his friend gets back and sees what he’s done. Their plans were going pretty good till they got cocky and drunk and made the mistake of allowing fired maid in. Instead of turning her away.

  37. I had a woman I went with tell me this when I found out she was .. well conning people, and I said basically that was not very nice to do .. and her reply was that she was going to continue to do whatever was need to get the wealth .. AND THEN she would have the power "to be a nice person".

  38. You don’t have to be familiar with the peculiarities of Korean society to appreciate this film.

    What Parasite highlights is the appalling level of inequality in every society, which no one can turn away from.

    Perhaps that’s why this film is already garnering widespread acclaim. It has already seized the Palme d’Or along with multiple ­international film awards.

    There’s also speculation about whether it can be the first ever ­non-English language film to win the Oscar for best picture.

    The issues the movie shows are universal, and fitting of a world witnessing sweeping revolts and uprisings.

    Revolutions and protests that removed decades-long dictators last year in Algeria and Sudan were built on the back of similar inequalities and resentments.

    It is the poor and the have-nots who suffer the largest blow from ­natural disasters as we can see from the floods in Indonesia.

    The movie reminds us that it is not the rich and the powerful who pay for the consequences of global warming.

    Bong has created a powerful, humorous film that lets us touch, smell, and taste the details of lives of the people of a world in revolt and crisis.

  39. Ok the video encompasses all of Bong Joon-Ho, i get it, but a spoiler warning would be appreciated.

    I mean, Parasite may attract audiences to this mans career, spoiling the ending, not cool

  40. This is my favourite analysis by far. I'm on the left of the political spectrum but it is frustrating that the left like the right engages in sophistry. An example is the left's political correctness about the poor and how the left always ennobles them. I come from a developing country and I've seen how the poor are just as grasping and mean to each other as the rich. This view was further entrenched when I studied social work living in the first world and saw the same damaging behaviours they inflict on each other. This is why bong is such a class on his own as a filmmaker and is heads above the rest. I laugh when some put David Fincher in the same league as bong. There's even no comparison.

  41. I look at America and some sections of the working class vote against their interests and elect someone who belongs to the 1%. Such mindset can only mean they have no solidarity strong enough to change the economic system that is enslaving them. Very sad that they are their own worst enemies.

  42. The Kims were the REAL parasites. Park Dong-ik worked hard to become such a renowned and successful architect, and glorifying his degradation and murder is a sickening perversion of true justice that democrats and their globalist allies in hollywood are shamelessly infecting this once-great nation with. Sad.

  43. In parasite, because we see what happens when you lose that hope of getting better, what happens when you don’t have a plan, like Mr. Kim, I assumed the first time we watched it that it was saying the hope, the plan, is a better option and that he does some day but the house. After this I think regardless of whether he buys the house or not, the point is still to have hope and to not leech off other people within the same situation you are in.

  44. Great point I haven't seen analyzed before that the director doesn't provide the answer to the problem that he highlights in his work. The answer is the positive systems, slow methodical growth. Not individual stories, neither a revolution, nor a benevolent leader either. But positive systems don't make for a great storytelling. The general population doesn't find the modern history of Nordic countries particularly thrilling even though they show the results as close to good as we get on this planet. Very very few can name a Swiss president not to mention the five best or worst ones because effective management is invisible. It's a shame that entertainment fails to even nudge people into the direction of answers because it's not true that there are no answers, few bother to actually search.

  45. Parasite is a refreshing film but several reviewers and critiques (and their followers) seem to be in awe of it mainly because most of the other films have been poor or mediocre and they haven't had the time to think beyond what conventional run-of-the-mill films have offered in recent times.

  46. Why make an analysis my fellow? We all know Bong Joon-ho movies truly criticize class because Americans hate it for no reason.

  47. I love that when every poor of the world ends wachting Parasite, we just take a deep breath, look at each other whith the look that every poor of the world knows: "he's not going to make it".

  48. I lost interest in this video as soon as he said barking dogs never bite is Bong's "only not good movie."
    플랜더스의 개는 봉준호의 작품 중에서 단 하나의 안 좋은 작품이랬자마자 이 동영상에 관심이 없어졌다…

  49. I hope he made a similar movie like snowpiercer a movie which takes place in the future but with analog technology maybe something similar to Hellevator or city of ember

  50. So many asked me if the depiction of how the poor lives (in a sub basement dwelling) is correct.
    I thought that was a question of such ignorance… totally oblivious and unaware of how many lives in a sub basement apartments here in NY.
    The whole point of the movie…that is.

  51. The eternal optimist in me, made me imagine that he did buy the house and the ending scene went back in time to signify his ascent. I need to rewatch this again…

  52. The only thing I want to know is when was the CCTV was cut? We knew that the old housekeeper cut the wires of the CCTV so that her arrival wont be recorded. But when? the Rich family left in the morning then the poor family came by, loafed, slept, eat and owned the house. which means they get in early, then Moon-Gwang came at night right?

    so the question is, after the killing had occured, isnt it necessary to check the video records of the CCTV? Although it was cut, was the arrival of the poor family captured? Because if not, then Moon Gwang should knocking at their door in the early daytime, not night time. which means her family could be subjected as accomplice, and made the son, and the mother go to jail too, because of trespassing and their connection to Mr Kim. which means its more real if they go to jail while Mr Kim was under the basement. In that case, all of them will experience the isolation, the feeling of being trapped. and that would be the more horrifying

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