Save this article to read it later.
Find this story in your accountsSaved for Latersection.
The South Korean director thinks in metaphor.
(They press against the ceiling to make a run at get a Wi-Fi signal.)
They desperately need to attach themselves to something high off the ground.
They long for airier metaphors.
Though Ki-woo isnt even in college, the subterfuge is easy; the pampered Parks are exquisitely gullible.
When the Parks go on a camping trip, the Kims move in and savor the luxury and peace.
They think theyre a natural fit.
The first half ofParasitegoes down easily maybe too easily.
), and Bongs frames are over-controlled.
It seems like a one-joke movie.
You could never call Bong subtle.
The climax, though surprising in its splatter quotient, is telegraphed.
Bong has a gift for creating believably interdependent families, each its own ecosystem.
The temptation must have been strong to make the wealthy Parks cartoons of privilege, but theyre actually likable.
He does not have peripheral vision, but he doesnt need it to thrive in his world.
You could say he functions better without it.
At the heart ofParasiteis the most gnawing evolutionary fear of all, the inability to protect ones family.
Parents work to save their children but lose them, as children lose their parents and wives their husbands.
The bonds are firm but can withstand only so much pressure before they fracture.
Who are the real parasites?
The poor who attach themselves to the rich or the rich who suck the marrow of the poor?
Or is the system itself the parasite, drawing its energy from the turbulent interaction between rich and poor?
As in Jordan Peeles even more outlandishUs,the central metaphor eats into the mind.
We are feeding on each other.
Comeuppance comes up from below.
