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The Critique of the Oscar-Winning Film: Parasite

Parasite is a 2019 Korean horror comedic movie directed by Bong Joon-ho. It is the only film

written in a language other than English to receive Golden Feature at the 2020 Academy Awards. With

its overpowering narrative and performances, this film leaves an enduring impression and a sense of

surprise. The school functions as the foundation and main focus of societal critique in Korean movie

films. All aspect and feature in the film, from the person's crystal to the contrasted buildings, middle

names, and attitude of the people, connect to the underlying theme of social inequalities and economic

imbalance. The 2020 Academy Award-winning film Parasite (2019) is a magnificent visual

representation and a vital statement to contemporary society about the devastating consequences of

democracy's long-established imbalances.

Summary

Parasite (2019) tells the story of a poor household, the Kims, who cleverly put themselves in the

hands of the prosperous Gardens. The Gardens are incredibly rich, and the household secretly sheltered

a foreigner in their room for years. The video begins in the Kims' half-basement residence(Attfield 34).

The Kims' residence is a structural paradise that adheres to the boundaries of acceptable housing

circumstances and is an accurate depiction of the lead character' emotional situations. The household

performs small jobs to supplement their income, and they rely on unsecured Wi-Fi connections and

street-cleaning insecticides to keep the parasites out of their household.

Ki-woo, the narrator's son, obtains a gemstone as a present from a colleague who assists him in

obtaining a teaching position with a prosperous household. Following that, Ki-woo and his sister Ki-

jung deftly fake qualifications for the job, thereby initiating the long-running deception involving both
the Kim and topmost Park families. Within a short period, the entire Kim household begins operating

for the Parks and executes a genuine fraud that works flawlessly. After a period, the fairly low

household serving the wealthier household begins to take a higher level of this phony wealth

identification. After Moon-Gwang, the previous housewife, comes to the residence and discloses the

hidden underground, the audience is immediately confronted with a "huge tonal shift" from the humor

to the surprise thriller moments. It is a secret location where her disguised partner has been hiding for

several years, implying a lesser social status than the Kims. Following this change of circumstances,

the film takes on a more emotional and harsher tone towards the conclusion, when the aggression

surges and the blessed stone becomes a weapon of anger and bloodshed during the Parks' smallest

child's birthday celebration(Lee 45).

Analysis

Parasite (2019) can be viewed as a contemporary allegory on the fundamental social

inequalities inherent in the capitalism society. The image demonstrates that the only method to thrive in

life is to compromise on the rights of others. The movie's main storyline is shot nicely, with special care

paid to elements such as the principal building's indoor and outdoor decor and illumination. Thus, the

film's strong message to contemporary community is conveyed through an excellently choreographed

elevated act of suspense showing the everyday existence of a relatively low Korean household. It is the

"up to the room" film, in which every conceivable in socioeconomic level on the stairway of social

"planning in terms" is investigated(Lee 23). The pro government storyline portrays the richest segment

of society as parasitic, while the labour movement is seen as struggling to escape injustices and

economic difficulties.

Evaluation
 Bong Joon-worldview ho's is more clearly shown in his films' finale, which are direct, gloomy,

and uncompromising. In general, his filmmaking work is intimate in the sense that he allows his

viewers to feel the despair, despair, and anguish he experiences about the environment around him.

Parasite (2019) is a remarkable and frightening work, particularly for the Western world, since it is

mostly centered on East Asian general societal different viewpoint. However, the film's theme of the

growing divide between wealthy and underprivileged is universal to civilised democracies. The

filmmaker employs "straightforwardness" to highlight the film's grim, genuine conclusion. Thus, one of

the primary reasons for Parasite's phenomenal popularity in 2019 and 2020 is due to the fundamental

theme and implications of social inequalities and income inequality, which are actually pervasive

socioeconomic disparities(Schütze 19).

Conclusion

Parasite (2019) is among the more appreciated films of the year, exaggerating the vital cultural

problem of social inequality and the relationship between wealth, authority, and crime. Bong Joon-ho

delicately conforms a longitudinal example of socioeconomic status and privilege, and his film

exemplifies the most prioritized and perfected strategy to class characterization and comparison. From

an imaginative and ethical standpoint, Parasite (2019) is a considerable film that surely deserve the

widespread contextual uproar that accompanied its worldwide conversation and acclaim.
 Works Cited

Attfield, S. Class on screen: The global working class in contemporary cinema. Springer Nature, 2020.

Lee, J. Awakening through literature and film: Into the dancing light. Cambridge Scholars Publishing,

2021.

Lee, N. Films of Bong Joon Ho. Global Film Directors, 2020.

Schütze, F. Disney in Wonderland: A comparative analysis of Disney's Alice in Wonderland film

adaptations from 1951 and 2010. diplom.de, 2014.