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boardchairman-blog · 4 years

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**Shots of the Movie**

Parasite (2019)

Director: Bong Joon-ho Cinematographer: Hong Kyung-pyo

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hyukfthae · 4 years

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PARASITE HEADERS

#PARASITE #parasite #korean movie #oscars 2020 #bong joon ho #han jin won #song kang ho #lee sun kyun #cho yeo jeong #choi woo shik #park seo jun #park so dam #jung ziso #parasite icons #parasite headers

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cinefilia2012 · 4 years

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Gisaengchung (Parasite) - 8,5/10

(Parásitos)

#movies #Gisaengchung #Parasite #Bong Joon ho #Song Kang ho #Park So Dam #Choi Woo Shik #Cho Yeo Jeong #Lee Jung Eun #Chang Hyae Jin #Park Myeong Hoon #Lee Sun Kyun #Jung Ziso

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filmbook21 · 5 years

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#Parasite #Joon Ho Bong #Bong Joon Ho #Kang-ho Song #Hye-jin Jang #Woo-sik Choi #So-dam Park #Yeo-jeong Jo #Sun-kyun Lee #Jung Ziso #Jung Hyeon-jun #기생충 #봉준호 #송강호 #최우식 #박소담 #2019

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da-vedere · 5 years

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Parasite (Gisaengchung) (2019) ☰

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hayatinarkaplani · 4 years

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Film: Parazit Yönetmen: Joon-ho Bong Vizyon tarihi: 1 Kasım 2019 Süre: 132 dk Oyuncular: Kang-Ho Song, Woo-sik Choi, Park So-Dam, Chang Hyae Jin, Sun-kyun Lee, Cho Yeo-jeong, Jung-Ziso, Jung Hyeon-jun Tür: Gerilim Ülke: Güney Kore

Park Ailesi'yle tanışın: soyla gelen servetin klasik bir tablosu. Diğer yanda ise Kim Ailesi, sokak zekası bakımından zengin ama başka hiçbir zenginliğe sahip değil. Şans veya kader olsun, bu iki ev halkı bir şekilde bir araya gelir ve Kim ailesi altın bir fırsatın varlığını hemen sezer. Kolej çağındaki Ki-woo tarafından manipülasyon konusunda yetiştirilen Kim çocukları, öğretmen ve sanat terapisti görevleriyle kendilerini Park ailesinin arasına çabucak yerleştirir. Kim'ler “vazgeçilmez” lüks hizmetler sunarken, Parklar ise habersizce evlerindeki her şeyi Kim ailesine kaybetmektedir. Ancak kısa sürede bu düzen bir tehditle karşılaşır. Asalak bir misafir Kim ailesinin yeni keşfettikleri konforu tehdit eder hale geldiğinde, vahşi ve zorlayıcı bir üstünlük mücadelesi patlak verir. Bu mücadele Kim ve Park aileleri arasındaki kırılgan ekosistemi yıkmakla tehdit etmektedir...

uzun zaman sonra tek başıma bir filme gittim. merak ettiğim ama girip girmemek adına tereddüt ettiğim bir film oldu. film, tam olarak 132 dakika sürmesine rağmen o kadar kendine bağladı ki, devam etse de izlerdim.

konu itibariyle Güney Kore’de yaşayan, sosyo-ekonomik ve sosyo-kültürel açıdan zıt kutuplarda bulunan Park aile ile Kim ailesinin yaşadığı gerilim dolu bir film. bir yanda eğitimsiz, fakat ailecek para kazanmaya çalışan Kim ailesi. diğer yanda ise hayat şartlarının fazlasıyla iyi gittiğini gördüğümüz Park ailesi yer alıyor.

filmde, zenginlik - kibarlık, fakirlik - fırsatçılık, gerçeklik - hayal ilişkilerinin kurulduğu ve kurgunun da akıcı olarak aktarıldığını söylemek mümkün. içerisinde fazlasıyla düşündürücü ve beklenmedik an bulundurmasından dolayı da hala etkisindeyim diyebilirim. yakın zamanda - sanırım bu hafta - vizyondan kalkacak. izlenmesi tavsiye edilir.

#parasite #parazit #joon-ho bong #kang-ho song #woo-sik choi #park so-dam #movie #film #south korea #güney kore #2019

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demifiendrsa · 4 years

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SAG Awards 2020 winners:

Outstanding Performance by a Cast in a Motion Picture: Parasite, Chang Hyae-jin, Cho Yeo-jeong, Choi Woo-shik, Jung Hyeon-jun, Jung Ziso, Lee Jung-eun, Lee Sun-kyun, Park Myung-hoon, Park So-dam, Song Kang-ho Outstanding Performance by a Female Actor in a Leading Role: Renée Zellweger, Judy Outstanding Performance by a Male Actor in a Leading Role: Joaquin Phoenix, Joker Outstanding Performance by a Female Actor in a Supporting Role: Laura Dern, Marriage Story Outstanding Performance by a Male Actor in a Supporting Role: Brad Pitt, Once Upon a Time…in Hollywood Outstanding Performance by an Ensemble in a Drama Series: The Crown, Marion Bailey, Helen Bonham Carter, Olivia Colman, Charles Dance, Ben Daniels, Erin Doherty, Charles Edwards, Tobias Menzies, Josh O'Connor, Sam Phillips, David Rintoul, Jason Watkins Outstanding Performance by a Female Actor in a Drama Series: Jennifer Aniston, The Morning Show Outstanding Performance by a Male Actor in a Drama Series: Peter Dinklage, Game of Thrones Outstanding Performance by an Ensemble in a Comedy Series: The Marvelous Mrs. Maisel, Caroline Aaron, Alex Borstein, Rachel Brosnahan, Marin Hinkle, Stephanie Hsu, Joel Johnstone, Jane Lynch, Leroy McClain, Kevin Pollak, Tony Shalhoub, Matilda Szydagis, Brian Tarantina, Michael Zegen Outstanding Performance by a Female Actor in a Comedy Series: Phoebe Waller-Bridge, Fleabag Outstanding Performance by a Male Actor in a Comedy Series: Tony Shalhoub, The Marvelous Mrs. Maisel Outstanding Performance by a Male Actor in a Television Movie or Miniseries: Sam Rockwell, Fosse/Verdon Outstanding Performance by a Female Actor in a Television Movie or Miniseries: Michelle Williams, Fosse/Verdon Outstanding Action Performance by a Stunt Ensemble in a Motion Picture: Avengers: Endgame Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series: Game of Thrones Screen Actors Guild Life Achievement Award: Robert De Niro

#Parasite #The Crown #Foss Verdon #The Marvelous Mrs. Maisel #Joker #Judy #Marriage Story #Once Upon a Time in Hollywood #The Morning Show #Fleabag #Fosse/Verdon #Avengers Endgame #Game of Thrones #SAG Awards #SAG Awards 2020 #film #television #awards

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milliondollarbaby87 · 4 years

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MOTION PICTURES

Outstanding Performance by a Cast in a Motion Picture Parasite

HYAE JIN CHANG / Chung Sook YEO JEONG CHO / Yeon Kyo WOO SHIK CHOI / Ki Woo HYEON JUN JUNG / Da Song ZISO JUNG / Da Hye JUNG EUN LEE / Moon Gwang SUN KYUN LEE / Dong Ik MYUNG HOON PARK / Geun Se SO DAM PARK / Ki Jung KANG HO SONG / Ki Taek

Outstanding Performance by a Male Actor in a Leading Role Joaquin Phoenix, Joker

Outstanding Performance by a Female Actor in a Leading Role Renee Zellweger, Judy

Outstanding Performance by a Male Actor in a Supporting Role Brad Pitt, Once Upon a Time in Hollywood

Outstanding Performance by a Female Actor in a Supporting Role Laura Dern, Marriage Story

TELEVISION Outstanding Performance by an Ensemble in a Drama Series The Crown

MARION BAILEY / Queen Elizabeth the Queen Mother HELENA BONHAM CARTER / Princess Margaret OLIVIA COLMAN / Queen Elizabeth II CHARLES DANCE / Lord Mountbatten BEN DANIELS / Lord Snowdon ERIN DOHERTY / Princess Anne CHARLES EDWARDS / Martin Charteris TOBIAS MENZIES / Prince Philip, Duke of Edinburgh JOSH O’CONNOR / Prince Charles SAM PHILLIPS / Equerry DAVID RINTOUL / Michael Adeane JASON WATKINS / Harold Wilson

Outstanding Performance by an Ensemble in a Comedy Series The Marvelous Mrs. Maisel

CAROLINE AARON / Shirley Maisel ALEX BORSTEIN / Susie Myerson RACHEL BROSNAHAN / Midge Maisel MARIN HINKLE / Rose Weissman STEPHANIE HSU / Mei JOEL JOHNSTONE / Archie Cleary JANE LYNCH / Sophie Lennon LEROY McCLAIN / Shy Baldwin KEVIN POLLAK / Moishe Maisel TONY SHALHOUB / Abe Weissman MATILDA SZYDAGIS / Zelda BRIAN TARANTINA / Jackie MICHAEL ZEGEN / Joel Maisel

Outstanding Performance by a Male Actor in a Drama Series Peter Dinklage, Game of Thrones

Outstanding Performance by a Female Actor in a Drama Series Jennifer Aniston, The Morning Show

Outstanding Performance by a Male Actor in a Comedy Series Tony Shalhoub, The Marvelous Mrs. Maisel

Outstanding Performance by a Female Actor in a Comedy Series Phoebe Waller-Bridge, Fleabag

Outstanding Performance by a Male Actor in a Television Movie or Limited Series Sam Rockwell, Fosse/Verdon

Outstanding Performance by a Female Actor in a Television Movie or Limited Series Michelle Williams, Fosse/Verdon

STUNT ENSEMBLES Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

AVENGERS: ENDGAME Marija Juliette Abney Janeshia Adams-Ginyard George “Gee” Alexander Derek Alfonso Nate Andrade Christopher Antonucci Randy Archer Brandon Arnold Steven S. Atkinson Ben Aycrigg Jennifer Badger Christopher Balualua Danya Bateman Loyd Bateman Kelly Bellini Joanna Bennett Carrie Bernans Felix Betancourt Gianni Biasetti, Jr. Mike Bishop Tamiko Brownlee Troy Butler Jwaundace Candece Marc Canonizado Janene Carleton Elisabeth Carpenter Sean Christopher Carter Kevin Cassidy Hymnson Chan Courtney Chen Anis Cheurfa Fernando Chien Alvin Chon Tye Claybrook, Jr. Marcelle Coletti David Conk John A. Cooper Brandon Cornell Thomas Joseph Culler Jahnel Curfman Gui Da Silva-Greene Chris Daniels Keith Davis Martin De Boer Robbert de Groot Isabella Shai DeBroux Holland Diaz Josh Diogo Jackson Dobies Justin Dobies Cory Dunson Jessica Durham Justin Eaton Jared Eddo Katie Eischen Kiante Elam Jazzy Ellis David Elson Jason Elwood Hanna Tony Falcon Guy Fernandez Mark Fisher Alessandro Folchitto Colin Follenweider Glenn Foster Simeon Freeman Shauna Galligan Monique Ganderton Johnny Gao Jomahl Gildersleve Denisha Gillespie Daniel Graham Ryan Green Carlos Guity Califf Guzman Dante Ha Akihiro Haga Garrett Hammond Lydia Hand Daniel Hargrave Kandis Hargrave Sam Hargrave Regis Andrew Harrington III Thayr Harris Zedric Harris Jimmy Hart Alex Hashioka Zachary Henry Danny Hernandez Mark Hicks Maria Hippolyte Bobby Holland Hanton JT Holt Crystal Hooks Niahlah Hope Damita Howard Justin Howell Jacob Hugghins Lindsay Anne Hugghins Michael Hugghins Tony Hugghins Scott Hunter James Hutchison III Pan Iam CC Ice Sarah Irwin Mami Ito Duke Jackson Michael Jamorski Kirk Jenkins Preshas Jenkins Floyd Anthony Johns Jr. Richard M. King Ralf Koch Khalil La’Marr Matt LaBorde Danny Le Boyer Matt Leonard William Leong Bethany Levy James Lew Marcus Lewis Jefferson Lewis III Eric Linden Scott Loeser Rachel Luttrell-Bateman Adam Lytle Tara Macken Dave Macomber Julia Maggio Ruben Maldonado Richard Marrero Rob Mars Andy Martin Aaron Matthews Tim R. McAdams Taylor McDonald Kyle McLean Crystal Michelle Mark Miscione Heidi Moneymaker Renae Moneymaker Chris Moore Tristen Tyler Morts William Billy Morts Marie Mouroum Spencer Mulligan Travor Murray Jachin JJ Myers Anthony Nanakornpanom John Nania Nikolay Nedyalkov Carl Nespoli Paul O’Connor Marque Ohmes Olufemi Olagoke Noon Orsatti Rowbie Orsatti Jane Oshita Leesa Pate Natasha Paul Gary Peebles Nathaniel Perry Josh Petro Lloyd Pitts George Quinones Taraja Ramsess Greg Rementer Antjuan Rhames Meredith Richardson Bayland Rippenkroeger Ryan Robertson Christopher Cody Robinson Donny Rogers Carrington Christopher Eric Romrell Michelle Rose Corrina Roshea Marvin Ross Elena Sanchez Maya Santandrea Matthew Scheib Erik Schultz Jordan Scott Joshua Russel Seifert Brandon Shaw Bruce Shepperson Joseph Singletary III Tim Sitarz Dominique Smith Dena Sodano Robert D. Souris Jackson Spidell Daniel Stevens Jenel Stevens Diandra Stoddard Milliner Granger Summerset Phedra Syndelle Mark Tearle Hamid-Reza Thompson Tyler J. Tiffany Aaron Toney Amy Lynn Tuttle Tony Vo Todd Warren Kevin Waterman Amber Whelan Aaron Wiggins Joseph Williams Matthew M. Williams Thom Williams Zola Williams Mike Wilson Tyler Witte Michael Yahn James Young Marcus Gene Young Woon Young Park Casey Zeller Keil Zeperni

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series GAME OF THRONES Boian Anev Mark Archer Kristina Baskett Ferenc Berecz Richard Bradshaw Michael Byrch Andrew Burford Yusuf Chaudhri Nick Chooping Jonathan Cohen David Collom Christopher Cox Jacob Cox Matt Crook Matt Da Silva Levan Doran Dom Dumaresq Daniel Euston Bradley Farmer Pete Ford Vladimir Furdik David Grant Lawrence Hansen Richard Hansen Nicklas Hansson Rob Hayns Lyndon Hellewell Jessica Hooker Gergely Horpacsi Paul Howell Rowley Irlam Erol Ismail Troy Kechington Paul Lowe John Macdonald Leigh Maddern Kai Martin Kim Mcgarrity Carly Michaels Nikita Mitchell Chris Newton David Newton Jason Oettle Bela Orsanyi Ivan Orsanyi Radoslav Parvanov Oleg Podobin Josh Ravenscroft Andrej Riabokon Zach Roberts Doug Robson Stanislav Satko Paul Shapcott Mark Slaughter Sam Stefan Jonny Stockwell Ryan Stuart Gyula Toth Marek Toth Andy Wareham Calvin Warrington Heasman Richard Wheeldon Belle Williams Will Willoughby Leo Woodruff Ben Wright Lewis Young

WINS BY STUDIO Disney – 1 Neon – 1 Netflix – 1 Roadside Attractions/LD Entertainment – 1 Sony Pictures – 1 Warner Bros – 1

WINS BY NETWORK Amazon – 3 FX – 2 HBO – 2 Netflix – 1 Apple – 1

SAG Awards 2020 – Winners MOTION PICTURES Outstanding Performance by a Cast in a Motion Picture Parasite HYAE JIN CHANG / Chung Sook…

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filming15 · 4 years

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What is the parasite film meaning and Details

What is Parasite movie? Who are the actress Oscar nominee Parasite movie actors in Best Film, Director and Editing? The subject of Parasite, where Bong Joon-ho sat in the director's chair, and the actors were curious. In the center of the movie, which movie enthusiasts watch with great admiration, there are Park and Kim families who differ from each other.

Parasite Movie Topic

Bong Joon-ho's breathtaking film Parasite is an evil and severe parody about riches difference. The film's arrangement has a poor family, the Kims, penetrating the lives of a well off family, the Parks, by turning into their new workers. Kim Ki-charm (Woo-sik Choi) is authentically a guide for the Parks' girl Da-hye (Jung Ziso), yet he utilizes his remaining to then attendant in his sister Ki-jung (So-dam Park), who acts like a craftsmanship mentor for the Parks' young child, Da-melody (Hyun-jun Jung). The Kim kids at that point outline the Parks' driver for being a downer, which permits them to get their own dad, Ki-taek (Kang-ho Sang), for the activity. At last, the family disposes of the Parks' servant, Moon-gwang (Jeong-eun Lee), by causing her to appear to be debilitated because of a peach sensitivity, which makes ready for the Kims' mom, Chung-sook (Hye-jin Jang), to get the gig. The Parks don't discover that the Kims are connected, and everything is by all accounts going fine until they discover that Moon-gwang has been concealing her significant other, Geun-se (Myeong-hoon Park), in the Parks' storm cellar. This all prompts a bent goals where Geun-se gets away from the cellar, gives a head injury to Ki-charm and executes Ki-jung, and is murdered by Ki-taek, who additionally slaughters the Park family's patriarch Park Dong-ik (Sun-kyun Lee) after he pulls back at Geun-se's "poor man's smell." Ki-taek then escapes the scene. Nobody knows where Ki-taek went, however Ki-charm finds that a light in the Parks' home, where they have since moved out and another family has moved in, is glinting in Morse code. He translates the code and finds that Ki-taek is alive and now living in the storm cellar. We at that point see an arrangement where Ki-charm intends to bring in enough cash to purchase the house and free his dad. In any case, the locations of Ki-charm purchasing the house follow are simply in Ki-charm's head. We're brought once more into reality by the end shots of the film, not of Ki-charm in the house liberating his dad as a component of a successful montage. The film closes with Ki-charm back in his own storm cellar, similarly as detained as his dad yet by financial conditions instead of lawful ones. The somberness of the completion is that the best way to free Ki-taek is inconceivable. In truth, he could simply hand himself over, yet then he'd simply be in another jail or he'd get capital punishment, so he should remain in the storm cellar. The jail of riches is the thing that entangles the Kims in any case. Indeed, they are "parasites" it might be said since they feed off the rich Park family, however the sumptuousness of the Parks' riches was never going to go to the Kims. The possibility of riches becomes both a dream and a jail for the Kim family, something they'll pursue yet never accomplish. They're stuck where they are—Ki-taek in a storm cellar and Ki-charm just ready to take a gander at the house from a separation. Nowadays, there's a ton of discussion about "pay disparity", which is a strangely cheerful expression since it infers that we can just rebalance the scales by one way or another through monetary projects and government intercession. Parasite is unmistakably progressively skeptical, contending that financial idleness is the new ordinary, and that the individuals who are brought into the world poor will bite the dust poor and the individuals who are rich will pass on rich. The dream of upward financial portability is Ki-charm's dream. On the off chance that it was as basic as simply getting rich and purchasing that house, for what reason would he have been living in a ghetto in any case? It's a pleasant idea that he could get rich and purchase the house to free his dad and they'd all live cheerfully ever after, yet that is never going to occur. We're totally caught where we are.

What is Parasite Short Topic? In South Korea, there are Park and Kim families who broke all blockbusters, reaching 10 million viewers, and the country's Oscar candidate, Parazit, which is separated from each other with great differences. The members of the Kim family, who live in almost misery, hide their true identities in some way and come into the service of the Park family, whose wealth does not know the limit. While this strange association continues, the class jumping effort and the tragicomic events caused by the arrogance of the fortune take place one after another. The parasite stands out with its strong cinema language and solid script full of surprises. The drama-family movie is about how today's people live through two families that look alike but look different. WHO ARE THE PARASITY FILM ACTORS? Kang-ho Song, Sun-kyun Lee, Yeo-jeong Jo, Woo-sik Choi, Hye Jin Jang Director: Bong Joon-ho Country: South Korea Distribution: A Movie Production: Joon-ho Bong, Young-Hwan Jang Read the full article

#Movie #Parasite

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pauls4thoughts · 4 years

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‘Parasite’ review – a gasp-inducing masterpiece

The ideal way to experience South Korean auteur Bong Joon-ho’s awards-garlanded, international box-office smash ‘Parasite’ is with as little prior knowledge as possible. It really is the kind of remarkable experience that makes modern movie going such a joy.

It defies any easy pigeonhole, wriggles free from slotting into a single genre, can be considered both a mainstream crowd pleaser and an arthouse masterpiece.

We first meet the Kim family, headed by father Ki-taek (Song Kang-ho) and mother Chung-sook (Chang Hyae-jin), in their lowly semi-basement home, hunting for stray wi-fi coverage and leaving their windows open to benefit from bug-killing street fumigation.

When son Ki-woo (Choi Woo-shik) is faced with an unexpected opportunity to home-tutor a rich schoolgirl, he gets his gifted artist sister, Ki-jung (Park So-dam), to forge a college certificate, bluffing his way into the job and into the home of the Park family.

He shows up at their fabulously lavish home, wealthy entrepreneur Mr Park (Lee Sun-kyun), his delicate, unworldly wife, Yeon-kyo (Cho Yeo-jeong), their teen daughter, Da-hye (Jung Ziso) and her wacky kid brother, Da-song (Jung Hyeon-jun).

It looks as if the wealthy Parks could be a meal ticket for the whole crooked family, all pretending to be complete strangers to each other. But little-kid Da-song has noticed something that the grownups haven’t: why do these people smell the same?

The Kim family may live in sewage-flooded squalor, but they are clearly every bit as smart as, and a lot more united than, the Parks, who turn their noses up at the smell of “people who ride the subway”. Similarly, while the smug Mr Park is habitually depicted ascending the stairs of his ultra-modern home, and the Kims are pictured scampering down city steps to their own underworld apartment, it’s clear who holds the dramatic high ground.

When it comes to deception, too, those on the upper rungs of the societal ladder are as practised as those upon whom they look down. In a world of vertical non-integration, 'Parasite’ finds gasp-inducing depths lurking beneath even the most apparently placid surfaces.

For me, 'Parasite’ is best described as a melancholy ghost story, albeit one disguised beneath umpteen layers of superbly designed and impeccably photographed generic mutations.

Thrillingly played by a flawless ensemble cast who hit every note and harmonic resonance of Bong and co-writer Han Jin-won’s multitonal script, it’s a tragicomic masterclass that will get under your skin and eat away at your cinematic soul.

A miracle of a film. It feels like Bong Joon-ho’s already extraordinary career has been building to this: a riotous social satire that’s as gloriously entertaining as it is deeply sardonic.

The poorer family see themselves in a distorting mirror that cruelly reveals to them how wretched they are by contrast and reveals the riches that could - and should - be theirs.

You’ve never seen a movie quite like 'Parasite.’ This time it’s true. It is almost a supernatural story; an invasion of the lifestyle snatchers. 'Parasite’ gets its tendrils into you. Not to be missed.

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kzk101ntwrk · 4 years

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With or Without a Best Picture Win, ‘Parasite’ Is Making History This Awards Season

The biggest surprise of the night at Sunday’s Screen Actors Guild Awards—or I guess you could say the only surprise—was Parasite‘s big win. The cast of the South Korean black comedy snagged SAG’s top honor: Best Ensemble Cast for Chang Hyae-jin, Cho Yeo-jeong, Choi Woo-shik, Jung Hyeon-jun, Jung Ziso, Lee Jung-eun, Lee Sun-kyun, Park Myung-hoon, Park So-dam, and Song Kang-ho. In SAG terms, that’s…

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#Academy Awards #Awards Watch #Breaking #Business #Film #Market #News #Oscars #Parasite #Politics #SAG #SAG Awards #Screen Actors Guild #Screen Actors Guild Awards #Stock #Tase #The Entertainment Industry #USA #World

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blowoutmag-blog · 4 years

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Crítica: “Parasita” nos traz um viés artístico e inusitado sobre a luta de classes

Imagem: reprodução

O novo longa de Bong Joon-ho, vencedor da Palma de Ouro em Cannes, já estreou cercado de mistério, sob pedidos do diretor para que a crítica não revelasse nada sobre o filme até certo ponto da trama. Parasita é diferente de (quase) tudo lançado recentemente — um ponto de vista avant-garde sobre uma questão milenar: a luta de classes.

O jovem Ki-Woo (Choi Woo-Sik), sua irmã Ki-Jung (destaque merecido para Parque So-Dam) e sua família (Jin Chang Hyae como Chung-Sook, a matriarca da família e Song Kang-Ho como o frustrado pai Ki-Taek) vivem em um porão fétido em uma favela de Seul, todos desempregados, com uma renda proveniente apenas da montagem de caixas de pizza. Sem mais expectativas de melhora, tudo muda quando um amigo de Ki-Woo o recomenda como professor particular de inglês para a filha adolescente de um rico casal.

Com um diploma forjado em mãos, o jovem consegue o emprego, impressionando a tresloucada e alienada dona de casa Yein-Kyo (Cho Yeo-Jeong) e roubando suspiros da filha Da-Hye (Ziso Jung), que rapidamente troca as aulas de inglês por anatomia. As duas famílias possuem interessantes paralelos, ambas compostas por por quatro integrantes, dois homens e duas mulheres.

Da-Song (Hyeon Jun Jung), o filho hiperativo e taciturno do casal, acende uma lâmpada na cabeça de Ki-Woo, que sugere que a criança possa precisar de uma professora de arte, visto que a mãe tem um profundo orgulho pelos rabiscos do filho, chegando a compará-lo com Basquiat. Obviamente o jovem farsante recomenda a própria irmã, mas claro, sem que saibam que são parentes. Uma vez dentro da casa, o casal de irmãos começa um esquema para levar o resto da família para os trabalhos de motorista e governanta, já ocupados por outras pessoas.

Sob uma ótica satírica com a dose certa de humor negro, testemunhamos os dois lados da luta de classes, de uma pocilga embaixo do chão da família de Ki-Woo para a enorme mansão de vidro e rocha da família da Park. Naturalmente, cria-se tensão crescente entre os lados, com um incrível plot-twist no meio do filme, onde tudo começa a ficar extremamente turbulento.

Em “Expresso do amanhã” (2013), Joon-ho já tratava sobre luta de classes, com suas diferenças sempre comedidas expostas em metáforas explosivas. Em “Parasita”, o diretor dificulta a escolha de um lado, visto que as pessoas ricas possuem boas intenções, só não o tato e a consciência de realidade necessários para pisar no chão. O público, então, simpatiza com os problemas de ambas as famílias (até certo ponto).

A estrutura narrativa e tema se assemelham bastante ao aclamado “Nós”, de Jordan Peele. Culturas e países diferentes, eles conseguiram mostrar como a desigualdade social é algo presente em qualquer lugar. A ladeira da comédia para o embate torna-se íngreme a ponto de o espectador apenas esperar o impacto final da queda.

Mas o coreano parece não se levar tão a sério quanto o americano. Jong-hoo utiliza-se de diálogos sarcásticos como uma maneira de blindar sua narrativa contra as armadilhas do pedantismo de outras obras que subestimam a inteligência do espectador com alegorias e firulas em excesso (o filme “Mãe é um bom exemplo disso). Não há pistas falsas, o que faz as viradas serem ainda mais impressionantes.

Tudo no filme é sobre subir e descer. Do porão para a mansão, das cores tristes da periferia para as luxuosas paredes de vidro dos Park. Diferente de “Expresso do Amanhã”, onde a câmera segue sempre rente aos corredores horizontais de um trem, em “Parasita” ela percorre longos lances de escadas, imprimindo verticalidade, provocando o espectador a embarcar nos sobes e desces da trama.

A luz vem sempre de frestas, portas e lâmpadas distantes. Para a família “de baixo”, a representação da ascensão é uma imensa janela, um convite ao mundo maravilhoso dos ricos e bem sucedidos, uma visão fixa de um pequeno paraíso particular. O filme une dualidade, futurismo, política, contemporaneidade e até mesmo a presença constante do apocalipse (visto um possível conflito nuclear com a Coreia do Norte, algo que vem a impactar todos os personagens).

“Parasita” pode ser considerado um filme sobre linhas traçadas em espaços de onde não querem que tentemos sair. “Trace um plano e o mundo fará dar errado”. É o constante ciclo do capitalismo, no qual sempre retornamos ao ponto de partida, mantendo o status quo. O filme diverte, mas nos leva a crer que nem o sangue nos olhos de quem não tem mais nada a perder será capaz de mudar o sistema.

#cinema

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attyvicsimon · 5 years

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For the 2nd year in a row at #CannesFilmFestival, Asian director took #PalmeDOr #GoldenPalm #BestFilm. #Shoplifters by Kore-eda Hirokazu of #Japan last year. "Parasite" or #Gisaengchung by Bong Joon-ho of #SouthKorea now. Known for "The Host" "Snowpiercer" & "Okja," which used sci-fi to critique capitalism & class divide, Bong adopts social realism with dark satire & noir to flesh out #Parasite. I laughed until my laughter uncomfortably turned to fear, outrage, and then despair as it climaxed into devastating conclusion as if my gut was unexpectedly punched by Manny Pacquiao. Like "Shoplifters," "Parasite" starts beguilingly simple. Ki-taek (Song Kang-ho), an unemployed man, lives in a squalid basement with his wife, ex-champion shotputter Chung-sook (Chang Hyae-jin), his smart daughter, Ki-jung (Park So-dam), and his cunning son, Ki-woo (Choi Woo-sik). An old schoolfriend helps Ki-woo get a lucrative job as tutor. With fake college diploma created by Ki-jung, he shows up at lavish home of wealthy entrepreneur Mr. Park (Lee Sun-kyun), his delicate wife Yeon-kyo (Cho Yeo-jeong), their teen daughter Da-hye (Jung Ziso), their wacky son Da-song (Jung Hyeon-jun) & loyal maid Moon-gwang (Jeong-eun Lee). The Parks live an uncreased life, save for the slightest wrinkling of the nose when an unpleasant odor — the tang of poverty — assails them. The Parks like Ki-woo and Da-hye gets a crush on him. Through evil machinations, the whole family, pretending to be complete strangers to each other, gets employed by the Parks: Ki-jung as art tutor of Da-song, Ki-taek as driver, and Chung-sook supplanted Moon-gwang as maid. But little Da-song notices something that the grownups do not (or pretend not to notice for selfish reasons): why do these people smell the same? Bong requested reviewers not to reveal the film's latter half. Multiple small twists ramp up the stakes of the class war that leaves no one holding the moral high ground. With watchmaker’s skill, he adroitly keeps the pendulum of my sympathies swinging back & forth between the grasping desperation of the poor & the idle hatefulness of the rich. 5 Stars out of 5 😍🌟😜 #Film #TravelViaFilm #Travel #Backpacking https://www.instagram.com/p/B1bo_NthIhj/?igshid=eoo07g6iuljp

#cannesfilmfestival #palmedor #goldenpalm #bestfilm #shoplifters #japan #gisaengchung #southkorea #parasite #film #travelviafilm #travel #backpacking

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youngwriter2003 · 3 years

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Parasite (2019)

RATING: 8/10

A son gets a job as a tutor. Then, he got his sister a job in that same house. After that, he and his sister get his father a house. And finally, through the actions of the father, the son, and his sister they get the mother a job. Seems harmless enough right?

The 2019 Korean Film Parasite, directed by Bong Joon-ho takes you on that journey with the Kims; Choi Woo Shik as Ki Woo, the son, Park So Dam as Ki Jung, the sister, Song Kang Ho as Ki Taek, the father, Chang Hyae Jin as Chung Sook, the mother. And their parallels the Parks; Jung Ziso as Da Hye, the daughter, Jung Hyeon Jun as Da Song, the son, Lee Sun Kyun as Dong Ik, Mr. Park, Cho Yeo Jeong as Yeon Kyo, Mrs. Park.

The Kim is a family of four who is struggling for money. They are all highly skilled individuals but can't afford to use their intelligence for better use. Through the tutoring job that Ki Woo, on false pretenses, for the Park family. Ki Woo family slowly integrates themselves into the wealthy Park family in a heist manner. With all of the Kims working for the Parks in deceit, they find themselves starting to live a parasitic life.

As Ki Woo is recommended to a job working for a wealthy family, he learns how he can infiltrate this family with his own. His sister is first but with the name “Jessica” Ki Jung receives a job as an art tutor for the Parks' young son. Ki Jung concocts another plan ending with Mr. Kim as the new driver. Through deceitful acts, the family makes an available position of a maid for Mrs. Kim. Kims take advantage of a situation that ends with finding out the former maids husband is living in the basement, and the maid finding out the truth. Scurrying back home due to the Parks returning early, the Kims find their home flooded. With more mayhem at the Parks party the next day, the party turns into a blood bath ending with much death. With final words from Mr. Kim and his son, we are left with little hope for the Kim family, as they are worse off than before.

Through a battle of classes, we see how both the Kims and the Parks infect one another. Using each other for their own gains. The Kims get jobs, and the Parks get employees that will do anything they say. This battle between the two ends with a surefire kill because that is a sure way that what happened between the two families will be remembered.

Through the use of acting throughout the film, we see how the two families act, while they are benign, watched and how they act when they are alone. This film realizes the ups and downs that the characters take, and how they react to them. For example, the Parks never look down, they don't see the tracks on the floor in their basement for the seller’s door. They don't see the Kims hiding because the Kims hid under things. Weather and props are also key in the development of the film. The ran shows that they have opposites views on life, the rain. The Kims see it as it destroyed their home. While the Parks see it as a slight inconvenience on their trip as well as it cleared the air for them for their party. The key prop in this film is the rock that Ki Woo gets at the begging of the film. Ki Woo sees it like it will bring them luck and fortune, which it does as the family all find jobs. Then when everything goes wrong the rock is found submerged in water. The rock is also used to harm Ki Woo symbolized as a weapon at the end of their fortune. Finally, once everything is over Ki Woo puts the river showing that Ki Woo’s luck is now over.

The foreshadowing at the beginning of the film we see the contrast between the Kims and the Parks. The Kims live in a basement where the highest place in the house is the toilet. While Parks has an open space layout for their home with many levels. The Kims even act as a physical parasite. Ki Woo tries for a better life and fails, but is crushed by the stone. Ki Jung didn't do any harm and yet is killed. Chung Sook had to fight for her life. And Mr. Kim who acts like a parasite though out ends up hiding in the basement for what seems like the rest of his life. The point where they all seem like parasites is when they are scurrying around trying to find a way out of the Park’s house.

In the end, there is no Hero and anti-hero. There are key differences between the two families but they are all parasites.

It's obvious that this movie is trying to tackle the struggling fact that there will always be someone who has it better than you, and you will always have it better than someone else.

Even with the showing three levels of classes, we do not see the three groups interact until the end. We see that the only way anything was going to truly change was with death. Because that how everything changes for a while until someone else moves in.

Movies that use Class Warfare and the class divide:

The Purge (2013) - The Wealthy and the Poor

Us (2019) - America vs The Clones

Joker (2019) - Businessmen vs Everyday-men

In the end, nothing changed. See as Mr. Kim said “With no plan, nothing can go wrong and if something spins out of control, it doesn't matter. Whether you kill someone or betray your country. None of it f*cking matters. Got it?” because it's better to do nothing then try to do something and fail.

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biofunmy · 5 years

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‘Parasite’ Review: The Lower Depths Rise With a Vengeance

Midway through the brilliant and deeply unsettling “Parasite,” a destitute man voices empathy for a family that has shown him none. “They’re rich but still nice,” he says, aglow with good will. His wife has her doubts. “They’re nice because they’re rich,” she counters. With their two adult children, they have insinuated themselves into the lives of their pampered counterparts. It’s all going so very well until their worlds spectacularly collide, erupting with annihilating force. Comedy turns to tragedy and smiles twist into grimaces as the real world splatters across the manicured lawn.

The story takes place in South Korea but could easily unfold in Los Angeles or London. The director Bong Joon Ho (“Okja”) creates specific spaces and faces — outer seamlessly meets inner here — that are in service to universal ideas about human dignity, class, life itself. With its open plan and geometric shapes, the modernist home that becomes the movie’s stage (and its house of horrors) looks as familiar as the cover of a shelter magazine. It’s the kind of clean, bright space that once expressed faith and optimism about the world but now whispers big-ticket taste and privilege.

“Space and light and order,” Le Corbusier said, are as necessary as “bread or a place to sleep.” That’s a good way of telegraphing the larger catastrophe represented by the cramped, gloomy and altogether disordered basement apartment where Kim Ki-taek (the great Song Kang Ho) benignly reigns. A sedentary lump (he looks as if he’s taken root), Ki-taek doesn’t have a lot obviously going for him. But he has a home and the affection of his wife and children, and together they squeeze out a meager living assembling pizza boxes for a delivery company. They’re lousy at it, but that scarcely matters as much as the petty humiliations that come with even the humblest job.

The Kims’ fortunes change after the son, Ki-woo (Choi Woo Shik), lands a lucrative job as an English-language tutor for the teenage daughter, Da-hye (Jung Ziso), of the wealthy Park family. The moment that he walks up the quiet, eerily depopulated street looking for the Park house it’s obvious we’re not idling in the lower depths anymore. Ki-woo crosses the threshold into another world, one of cultivated sensitivities and warmly polished surfaces that are at once signifiers of bourgeois success and blunt reproaches to his own family’s deprivation. For him, the house looks like a dream, one that his younger sister and parents soon join by taking other jobs in the Park home.

Take being the operative word. The other Kims don’t secure their positions as art tutor, housekeeper and chauffeur, they seize them, using lies and charm to get rid of the Parks’ other employees — including a longtime housekeeper (a terrifically vivid Lee Jung Eun) — in a guerrilla incursion executed with fawning smiles. The Parks make it easy (no background checks). Yet they’re not gullible, as Ki-taek believes, but are instead defined by cultivated helplessness, the near-infantilization that money affords. In outsourcing their lives, all the cooking and cleaning and caring for their children, the Parks are as parasitical as their humorously opportunistic interlopers.

Bong’s command of the medium is thrilling. He likes to move the camera, sometimes just to nudge your attention from where you think it should be, but always in concert with his restlessly inventive staging. When, in an early scene, the Kims crowd their superior from the pizza company, their bodies nearly spilling out of the frame, the image both underscores the family’s closeness and foreshadows their collective assault on the Parks. Nothing if not a rigorous dialectician, Bong refuses to sentimentalize the Kims’ togetherness or their poverty. But he does pointedly set it against the relative isolation of the Parks, who don’t often share the same shot much less the same room.

Bong has some ideas in “Parasite,” but the movie’s greatness isn’t a matter of his apparent ethics or ethos — he’s on the side of decency — but of how he delivers truths, often perversely and without an iota of self-serving cant. (He likes to get under your skin, not wag his finger.) He accents the rude comedy of the Kims’ struggle with slyness and precision timing, encouraging your laughter. When the son and daughter can’t locate a Wi-Fi signal — the family has been tapping a neighbor’s — they find one near the toilet (an apt tribute to the internet). And when a cloud of fumigation billows in from outside, an excited Ki-taek insists on keeping the windows open to take advantage of the free insecticide. They choke, you laugh. You also squirm.

The lightly comic tone continues after the Kims begin working for the Parks, despite ripples of unease that develop into riptides. Some of this disquiet is expressed in the dialogue, including through the Kims’ performative subservience, with its studied courtesies and strategic hedging. (Bong shares script credit with Han Jin Won.) The poor family quickly learns what the rich family wants to hear. For their part, Mr. and Mrs. Park (Lee Sun Kyun and Cho Yeo Jeong) speak the language of brutal respectability each time they ask for something (a meal, say) or deploy a metaphor, as when he gripes about people who “cross the line” and smell like “old radishes.”

The turning point comes midway through when the Parks leave on a camping trip, packing up their Range Rover, outdoor projector included. In their absence, the Kims bring out the booze, kick back and take over the house, a break that’s cut short when the old housekeeper returns, bringing a surprise with her. The slapstick becomes more violent, the stakes more naked, the laughs more terrifying and cruel. By that point, you are as comfortably settled in as the Kims; the house is so very pleasant, after all. But the cost of that comfort and those pretty rooms — and the eager acquiescence to the unfairness and meanness they signify — comes at a terrible price.

Parasite

Rated R for class exploitation and bloody violence. In Korean, with subtitles. Running time: 2 hours and 12 minutes.

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pauls4thoughts · 4 years

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The ideal way to experience South Korean auteur Bong Joon-ho’s awards-garlanded, international box-office smash 'Parasite' is with as little prior knowledge as possible. It really is the kind of remarkable experience that makes modern movie going such a joy.

It defies any easy pigeonhole, wriggles free from slotting into a single genre, can be considered both a mainstream crowd pleaser and an arthouse masterpiece.

We first meet the Kim family, headed by father Ki-taek (Song Kang-ho) and mother Chung-sook (Chang Hyae-jin), in their lowly semi-basement home, hunting for stray wi-fi coverage and leaving their windows open to benefit from bug-killing street fumigation.

When son Ki-woo (Choi Woo-shik) is faced with an unexpected opportunity to home-tutor a rich schoolgirl, he gets his gifted artist sister, Ki-jung (Park So-dam), to forge a college certificate, bluffing his way into the job and into the home of the Park family.

He shows up at their fabulously lavish home, wealthy entrepreneur Mr Park (Lee Sun-kyun), his delicate, unworldly wife, Yeon-kyo (Cho Yeo-jeong), their teen daughter, Da-hye (Jung Ziso) and her wacky kid brother, Da-song (Jung Hyeon-jun).

It looks as if the wealthy Parks could be a meal ticket for the whole crooked family, all pretending to be complete strangers to each other. But little-kid Da-song has noticed something that the grownups haven’t: why do these people smell the same?

The Kim family may live in sewage-flooded squalor, but they are clearly every bit as smart as, and a lot more united than, the Parks, who turn their noses up at the smell of “people who ride the subway”. Similarly, while the smug Mr Park is habitually depicted ascending the stairs of his ultra-modern home, and the Kims are pictured scampering down city steps to their own underworld apartment, it’s clear who holds the dramatic high ground.

When it comes to deception, too, those on the upper rungs of the societal ladder are as practised as those upon whom they look down. In a world of vertical non-integration, 'Parasite' finds gasp-inducing depths lurking beneath even the most apparently placid surfaces.

For me, 'Parasite' is best described as a melancholy ghost story, albeit one disguised beneath umpteen layers of superbly designed and impeccably photographed generic mutations.

Thrillingly played by a flawless ensemble cast who hit every note and harmonic resonance of Bong and co-writer Han Jin-won’s multitonal script, it’s a tragicomic masterclass that will get under your skin and eat away at your cinematic soul.

A miracle of a film. It feels like Bong Joon-ho’s already extraordinary career has been building to this: a riotous social satire that’s as gloriously entertaining as it is deeply sardonic.

The poorer family see themselves in a distorting mirror that cruelly reveals to them how wretched they are by contrast and reveals the riches that could - and should - be theirs.

You’ve never seen a movie quite like 'Parasite.' This time it's true. It is almost a supernatural story; an invasion of the lifestyle snatchers. 'Parasite' gets its tendrils into you. Not to be missed.

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