He tells Korean Bong Joon Ho that during his university studies he considers that he has turned, for cash, to show a child to a wealthy person, and that he actually remembers not long ago, when he was a working-class child, this strange and terrifying inclination he had after observing the family home from Excessive exuberance. unexpectedly.
From this individual experience, and frankly from this inclination, came the main seed of his movie "Parasite," which won the Palme d'Or at this year's Cannes Film Festival, making Bong Joon the main South Korean to win this. Overall great and glamorous movie scholarship.
To live as a parasite
Parasitology is characterized as a creature that lives dependent on another organism known as the host. Bong Joon-ho discovered from the beginning of his movie "Parasite" that stealth is the lifestyle that the Kim Ki-tech family lives in. The main sentence we hear in the movie from the child's lips: "We are done, we are no longer free Wi-Fi," after the woman at the highest level changed the password. At this stage, we see the rest of the family members upset about this, especially since the Internet is their solitary method of correspondence with the rest of the world after separating the broadcast communications department from their phones.
The child begins to search for another Wi-Fi organization that can be accessed, and finds a tag for another organization inside the bathroom in a place where he must reduce the request for the mark. The girl and the girl are sitting quietly by the toilet, the highest point in their basement, to get the signal. The ease with which they manage conditions confirms that they have experienced this path for a long time, and that this interruption is their usual way of life.
Their lifestyle is enhanced by their move to the wealthy Mr.Park family, but the revelation of the ex-servant's wife who has been living as a ghost in the basement below the family home for so long turns her into a fierce and horrific battle for endurance.
With this man / apparition it turns out that there is more hopeless than life as a parasite. Park says her son has had epilepsy since he saw a ghost in the house, after he tested the ex-servant's wife as he climbed around evening to get food. She revealed to her new servant that her grandfather used to say that appearing at home brings abundance, and that their monetary situation has really worsened after the ghost appeared.
the story
The film, written by Bong Joon-ho with Jin Won Han, tells the story of two indistinguishable families, each consisting of four members, a father, a mother, a child and a young girl. The primary recommendation for naming the film was "decalcomania," which is a creative and specialized term for rendering and moving an image from one surface to the next.
The most common form is to draw an image on a portion of a white sheet evenly insulated below the center, at which point it overlaps the paper and presses outwards to print an exact copy of the image onto the other part of the sheet.
The suggested title was unexpected, we have two indistinguishable families, but the daily routine that each family experiences is completely different from the other, and the sheer distance between the photos of two indistinguishable families is the focal point of Bong Joon Ho. We have a frustrated Kim Ki-tik family (four without a job). They get it by collapsing pizza boxes for a restaurant, and they live in a storm cellar that alone neglects the Earth's exterior through a solitary window. Also, Mr. Park's family is wealthy and lives in a luxurious home.
The child of a miserable family succeeds, at the suggestion of one of his comrades, in obtaining a new line of work as a mentor for a young girl from the well-to-do family, at that stage with some trick and deception, the weak family prevails in the matter of the full enjoyment of the well-to-do family. What would happen to the two families if they met under the same roof? What is the effect of the struggle between two forces for this polarization?
Work area
The venue here in "Parasite" is not just a cover or event staple, but rather it is related to the drama and the film's significance. The majority of the film is shown in the basement of the miserable family and the residence of the well-to-do family.
Current social assumptions consider the spot as a living element, a living piece of the social body generated by the class battle. The dwelling of the two families, at that point, reflects the wide gap between their two classes, and this terrifying irregularity in the spot space and the diffusion of light (which is a special event for all). The child of a miserable family imagines that he is claiming the place of the well-off family, and that when that happens he will be in the nursery in light of the fact that the daylight there is wonderful. This association with light is natural for a person who lives in a basement, as daylight enters through a secluded window.
It is clear that the impression of a wide gap between the two classes can be observed in the area of separation of the miserable family from the home of the rich family after their sudden return, in an open film, the family takes many steps on their way to the basement of the storm, as if the distance between the two points is an endless descent.
The movie relied on occasional messaging on the alleged Morse code, a rudimentary method of messaging that is not currently used in conjunction with the rescue and assistance field in the event that current messaging methods are disturbed. This confirms that the social and financial situation depicted in the film is a dangerous circumstance that needs decisive mediation in order to save. Before the disaster strikes.
The movie begins and ends with a similar shot to the family vault, which helps the circumstance continue as before. What's more, if the first shot is in the daytime, confidence is through the light streaming in from the window, at this point the full shot is reduced in ambiguity.
And finally
In the end, these words are directed towards denouncing the broken monetary framework in the period of free enterprise, where the poor become less fortunate and the rich become more extravagant, as if we are facing the economy of cannibals, taking advantage of living spirits.
As though the presence of individuals living like ghosts is the thing that makes the rich become rich. The last picture shown in the movie is questionable who is the parasite here, who lives on whom? Are the classes that have been subjected to abuse who live in high society, or vice versa?
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