rating: 385740 vote
genre: Comedy
Runtime: 2Hour, 12 minutes
Stars: Sun-kyun Lee
Through an elaborate and ingenious scheme, the poor Kim family manage to trick the affluent and naive Park family into making them their servants. But unbeknownst to the Kims, the Park house harbors a dark secret which could cause the collapse of the newly formed symbiosis
country: South Korea

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I saw "Parasite" starring Kang_Ho Song-Snowpiercer, The Good The Bad The Weird; Woo_Sik Choi-Okja, Set Me Free; So_Dam Park-Fukuoka, The Priests and Hye_Jin Jang-Mothers, Marine Boy.
In case you couldn't tell by the actors names above, this is a South Korean movie with sub_titles. It explores the question, exactly who is the parasite? Between the rich and the poor, either group could be considered a parasite on the other one. Kang_Ho is the father of an unemployed family in South Korea. When an opportunity pops up for his son, Woo_Sik, to be a private tutor to a rich family, Woo_Sik gets an idea for employing the rest of his family, including his father, Kang_Ho, his sister, So_Dam, and his mother, Hye_Jin. There are complications, of course, which come to a head as each member of his family takes the place of a former employee and before it's over, blood is spilled and people are dead.
It's rated "R" for violence, language and sexual content-no nudity-and has a running time of 2 hours & 12 minutes.
It's not one that I would buy on DVD, but it would be a good rental.

An easter egg I found: when the Kim's dad gets the lever from the plum drink's shelf, you'll see Snow Piercer film boxes. Everyone- Whos here after the Oscars? Me- We all are, Karen. 🙄.

Top Rated Movies #26 | Won 4 Oscars. Another 255 wins & 222 nominations. See more awards » Edit Storyline The Kims - mother and father Chung-sook and Ki-taek, and their young adult offspring, son Ki-woo and daughter Ki-jung - are a poor family living in a shabby and cramped half basement apartment in a busy lower working class commercial district of Seoul. Without even knowing it, they, especially Mr. and Mrs. Kim, literally smell of poverty. Often as a collective, they perpetrate minor scams to get by, and even when they have jobs, they do the minimum work required. Ki-woo is the one who has dreams of getting out of poverty by one day going to university. Despite not having that university education, Ki-woo is chosen by his university student friend Min, who is leaving to go to school, to take over his tutoring job to Park Da-hye, who Min plans to date once he returns to Seoul and she herself is in university. The Parks are a wealthy family who for four years have lived in their modernistic house designed by and the former residence of famed architect Namgoong. While Mr. Park... Written by Huggo Plot Summary Plot Synopsis Taglines: Uncontainable desire. (US teaser poster) See more » Did You Know? Trivia First film since The Departed (2006) to win the Academy Award for Best Director without being nominated for Best Cinematography. See more » Goofs When the Kim's are sneaking out of the house while the Park's are sleeping they are barefoot. When we see them running home they have their shoes. If they had left their shoes at the entrance the Park's would likely have noticed them. It would be more likely they would have left them in the garage. See more » Quotes Moon-gwang: Don't fucking call me sis, you filthy bitch! Alternate Versions Also available in a black-and-white version. Instead of opting for a simple digital bleaching, Bong Joon Ho worked with a colorist and cinematographer to make sure each scene retained its texture. See more » Connections Featured in FoundFlix: Parasite (2019) (2020) Soundtracks In Ginocchio Da Te Performed by Gianni Morandi Sony Music See more » Frequently Asked Questions See more » Details Release Date: 8 November 2019 (USA) Box Office Budget: $11, 400, 000 (estimated) Opening Weekend USA: $393, 216, 13 October 2019 Cumulative Worldwide Gross: $254, 218, 961 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».

Critics Consensus An urgent, brilliantly layered look at timely social themes, Parasite finds writer-director Bong Joon Ho in near-total command of his craft. 99% TOMATOMETER Total Count: 432 90% Audience Score Verified Ratings: 7, 270 Parasite (Gisaengchung) Ratings & Reviews Explanation Parasite (Gisaengchung) Videos Photos Movie Info Bong Joon Ho brings his work home to Korea in this pitch-black modern fairytale. Meet the Park Family: the picture of aspirational wealth. And the Kim Family, rich in street smarts but not much else. Be it chance or fate, these two houses are brought together and the Kims sense a golden opportunity. Masterminded by college-aged Ki-woo, the Kim children expediently install themselves as tutor and art therapist, to the Parks. Soon, a symbiotic relationship forms between the two families. The Kims provide "indispensable" luxury services while the Parks obliviously bankroll their entire household. When a parasitic interloper threatens the Kims' newfound comfort, a savage, underhanded battle for dominance breaks out, threatening to destroy the fragile ecosystem between the Kims and the Parks. Rating: R (for language, some violence and sexual content) Genre: Art House & International, Drama Directed By: Written By: In Theaters: Oct 11, 2019 limited On Disc/Streaming: Jan 14, 2020 Runtime: 132 minutes Studio: NEON Cast News & Interviews for Parasite (Gisaengchung) Critic Reviews for Parasite (Gisaengchung) Audience Reviews for Parasite (Gisaengchung) Parasite (Gisaengchung) Quotes Movie & TV guides.

The actors and director where amazing. I Iove how they change their personalities when going on their poor environment, to when they're in the rich home. All the shots are perfect and artistic. So glad I didn't watch this review before I seen the movie. Dude you spoiled a sh!t load of stuff jeeeezus christ. Someone mentioned this but that layer of control set by the son is also there for comedic purposes. the dad is portrayed by a very famous actor in Korea while the son is played by a (edit) well-known but less prestigious actor. Korean audiences can immediately recognize this; it's like watching Tom Holland give acting lessons to RDJ.

Phenomenal film. The director exposed societal issues and norms that not only exist within South Korea but many parts of the world as well. Love it. Wow. That was amazingly good. Worth every second of my free time. Easily, one of the best movies of the year, because of many aspects: First, the acting is awesome, really strong performances by everyone. Second, the story is very interesting. And last but not least, the sequence of events in this movie is one if the year's best. I mean, every act is great on its own, but if you put them all together, you will witness a Masterpiece, and if you watch any of them by itself, you will get an amazing short-film. Considering thd Oscars, this one is a strong nomination for Best Foreign Language Picture and I wouldn't be surprised if it gets a nomination for The Best Picture award.

Its literally flawless. Congrats To Director To Pick This Story For The Genre ! It Changes My Mind That Cheating Is Not Bad If The Purpose Is Survival ! This Movie Also Shows Slaverysm And Racism In Reality As No People Shows It Directly To Our Face ! Acting Is Excellent ! Cameraman Deserves An Award ! Ending Was The Best ! Plot Twist Also Attratcts The Audience ! This Story Is So Difficult To Be Done In A Fast Screenplay ! But They Convey The Feelings Successfully. Congratulations for making Academy Awards history. The director explains his coda: “I thought it was being real and honest with the audience. ” Photo: Neon This article was originally published in 2019. We are republishing the piece ahead of the 2020 Academy Awards, during which Parasite will compete in the Best Picture field, among other categories. Bong Joon-ho movies tend to end where they begin: The detective in Memories of Murder returns to the ditch where he discovers one of the serial killer’s first victims; the titular mother in Mother dances, her arms swaying like wheatgrass; the little girl Mija returns to the countryside after saving her pet from a slaughterhouse in Okja. The world appears unchanged, but they are no longer the same. Instead, there’s a disquieting dread. Despite the unspeakable horrors each character has witnessed, the world still spins, impassive and unmoved by the preceding events. As with many of his films, Bong Joon-ho has his eye on the superstructure that binds society together and continues to grind down the bones of its protagonists long after the final frame. Parasite, Bong’s latest, gut-twisting, Cannes Award–winning film, is no different. Just as he called Snowpiercer — his film about class revolution set in a dystopia — his “hallway movie, ” he has called Parasite his “stairway movie. ” It is an upstairs-downstairs film that explores every available rung on the ladder of class aspirationalism. The movie starts in the half-basement apartment of the Kim family, with windows that barely peer above the ground. Half-basements are distinctively Korean spaces in urban centers like Seoul, and while the Kim house is firmly below ground, it still “wants to believe it’s above the ground. ” Their home is an architectural purgatory that just meets the threshold of acceptable living and a fitting reflection of their psychological states: mean, but still hopeful. In the opening scene, the family son Ki-woo (Choi Woo-sik) hunts for a Wi-Fi signal to leech off while the rest of his family folds pizza boxes for cash. They let the smoke from the public fumigation into their apartment for some free disinfectant. They’re scrabbling to survive, but catch a lucky break when Ki-woo scores a job tutoring the daughter of the wealthy Park family, Da-hae. The fun of the beginning of the film comes from watching Ki-woo and the rest of the family infiltrate the Park house as individual workers pretending to only know each other through vague networks: Ki-jung (Park So-dam) becomes an art therapist to the young boy Da-song, Chung-sook the mother (Jang Hye-jin) as the Park’s housekeeper, and Ki-taek (Song Kang-ho) the father as their driver. In the age of extreme wealth disparity, the Kims’ striving and scheming is thoroughly relatable: After all, who wouldn’t suck on the teat of the rich if given the chance? Then, as with so many of Bong’s films, there’s a moment about a third of the way through when the bottom drops out and Parasite morphs into something else. A story about two homes — the upstairs family and the downstairs — reveals yet another lurking underneath. The original housekeeper Mun-kwang (Lee Jeong-eun) returns and confesses that her husband, Kun-sae, has been stowed away in a secret bunker underneath the Park house for four years. The Kims are shocked by the state of his living conditions. When Mun-kwang begs the Kim mother to allow her husband to continue hiding there, she calls Chung-sook “older sister” and says that they are both “neighbors in need. ” Chung-sook huffily refuses both labels. How could the Kims even compare to this lowlife who has been subsisting off the runoff of a wealthy family? Instead, the two families fight for their place at the trough. Temporarily the Kims win out, trapping Mun-kwang and her husband, Kun-sae, in the bunker. That is, until the Kims are asked to sacrifice a weekend off to throw a birthday party for the Parks’ baby boy. In the final act, Bong carefully constructs the Parks’ carefree spontaneity onto the backs of the Kims. During the festivities, Kun-sae, the mad, entrapped husband, emerges from the bunker and stabs Ki-jung, creating total pandemonium. The Park child faints, and his parents demand the father, Ki-taek, drive them to the hospital, even as his own daughter is bleeding to death. That moment clarifies what they should have known all along: that their lives are still constrained by servitude, and that they work merely at the whims of their employer. So Ki-taek stabs the wealthy Park patriarch and runs away. The coda of the film was the second epiphany Bong had while working on the script. (The first was the very idea of a third family hidden underneath the house. ) He was waiting at a crosswalk in Vancouver when he suddenly realized how to end the movie after a sensational, bloody climax: The father would become the new resident in the bunker, hiding from the police in the last place they’d look to find him. The Parks would move out, only to be replaced by a German family. The particularities may have changed, but everyone’s station has remained the same. There would always be another wealthy person to live upstairs, just as there would be another poor person positioned beneath them. The film ends with Ki-woo narrating the aftermath: He awakens in the hospital from head injuries only to have his Miranda rights read to him. He’s charged and on probation with his mother; his sister, Ki-jung, has died; their father long disappeared and his whereabouts unknown. On a hunch, Ki-woo hikes a mountainside that overlooks the Park house where he notices a flicker of light that registers as Morse code. His father, using a method Kun-sae perfected, is tapping out a message to him. The film ends with Ki-woo writing a reply. As he speaks in a voice-over, we see his fantasy take shape: He has a plan. He’s going to go to college, and get a job, and make a lot of money. He’s going to make so much money that one day he’ll be able to buy the house himself, and all his father will have to do is go up the stairs and walk out into the sun. Parasite ’s penultimate shot is swathed in fantasy: father and son hugging on the bright, green lawn of the Park house that is now rightfully theirs. Bong could have ended the film on that note of dreamlike ambiguity, but instead he returns to the half-basement where the movie started, descending from the cramped window space down to Ki-woo writing the letter to his father. There is no mistaking what the reality is. His desire to continue striving is Sisyphean and is the boulder that will eventually crush him. Hope is the emotional parasite in the film: the thing that keeps us going but sucks our marrow dry. “It’s a surefire kill, ” Bong tells me about the final shot. During our few days together in Los Angeles, we discussed the many filmmaking choices he made for Parasite, including the ending. He’s using a Korean phrase (확인사살) that essentially describes the final gunshot you take to make sure someone is good and dead. Imagine an action flick where a trained soldier shoots down an enemy and then walks up to their body and shoots them once more in the head. That’s the surefire kill. The ultimate insurance. And that’s what he wanted the ending to do. “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, ” he says. “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 be able to buy that house. I just felt that frankness was right for the film, even though it’s sad. ” Bong Joon-ho’s worldview comes through most clearly in his endings: clear, bleak, and unrelenting. While his films aren’t necessarily autobiographical, they are personal in the sense that what he wants the audience to feel is the same dread, terror, and anxiety that he feels about the world: the impending climate catastrophe, human-rights abuses, and the ever-widening gap between the rich and the poor. The detail in Snowpiercer of the small children being used as labor to keep the engine running, for instance, was inspired by news of child-labor practices. Parasite, too, took some inspiration from the Papin sisters, two live-in maids who killed their employers in 1930s France. The horrors in his films often mirror what he sees in the world. “There are people who are fighting hard to change society. I like those people, and I’m always rooting for them, but making the audience feel something naked and raw is one of the greatest powers of cinema, ” he says. “I’m not making a documentary or propaganda here. It’s not about telling you how to change the world or how you should act because something is bad, but rather showing you the terrible, explosive weight of reality. That’s what I believe is the beauty of cinema. ” Bong Joon Ho on Ending Parasite With a ‘Surefire Kill’.

Terrific performances. Very much enjoyed this film. Beautiful camera work. The cast was nearly spot on. The direction was outstanding. Great work to all of them. Nice, but why did the translator change Seoul Univ. to Oxford and Kakaotalk to Whatsapp? They sound(look) a bit out of place, considering it's Korea.

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