Parasite, (기생충) 2019 | And the Academy Award for Best Picture goes to…

Parasite (기생충) 2019

Bong Joon-ho’s most significant success to date is “Parasite” (기생충), released in 2019. This groundbreaking film made history by being the first non-English film to win the Best Picture award at the Oscars. It is one of only three films to have won the Academy Award for Best Picture and the Palme d’Or. “Parasite,” a black comedy thriller, marked Bong’s return to a sole Korean production for the first time since “The Host.” It takes inspiration from Kim Ki-young’s 1960 film “The Housemaid,” creating a connection between two significant films in the history of Korean cinema.

The story follows Kim Ki-taek, played by Song Kang-ho, and Chung-sook, portrayed by Jang Hye-jin. They live in a semi-basement flat in Seoul with their daughter Ki-jung, played by Park So-dam, and their son Ki-woo, played by Choi Woo-shik. The family is facing challenges with unemployment and relying on low-paying temporary jobs. One day, Ki-woo’s friend Min (played by Park Seo-joon) presents them with a scholar’s rock, which is said to bring wealth. Before leaving to study abroad, Min suggests that Ki-woo misrepresent his qualifications to take over as the English tutor for Da-hye (Jung Ji-so), the daughter of the wealthy but naïve Park family. With Ki-jung’s help, they forge a certificate for him. Ki-woo, now posing as a Yonsei University student named “Kevin”—the same university attended by Bong—gets hired by the Parks.

Choi Yeon-gyo (played by Cho Yeo-jeong) is the Park family’s mother and the household’s most naïve member. Her husband, Park Dong-ik (the late Lee Sun-kyun), is a successful businessman but somewhat disconnected from reality. When Ki-woo learns that Yeon-gyo is searching for an art teacher for their son, Da-song (played by Jung Hyeon-jun), he recommends Jessica, a classmate of his cousin. However, Jessica is actually his sister, Ki-jung.

Not satisfied with just two family members working, the Kim family concocts a plan to remove the Park family’s driver and housemaid, Gook Moon-gwang (Lee Jung-eun), to secure jobs for Ki-taek and Chung-sook as well, regardless of the consequences.

The family’s plan to infiltrate their way into better jobs is central to the story, as they plot to do so at the expense of others. Their desire to escape their low social status and cramped semi-basement flat pushes them to take increasingly risky actions, ultimately leading them down a path from which there is no return.

In contrast to “Snowpiercer,” which emphasizes horizontal storytelling, “Parasite” employs vertical movement to underscore social hierarchies. The Kim family’s home is deep in Seoul, below ground level. When Ki-woo first visits the Park house, he climbs what seems to be an endless amount of hills and stairs, symbolizing the significant wealth gap between the two families. Bong himself has referred to “Parasite” as an “upstairs/downstairs” or “stairway movie,” with staircases symbolizing the differing social positions of the two families depicted in the film. Like The Housemaid, the stairs separate the housemaid from the family before she ultimately crosses the threshold.

While both houses utilize horizontal framing, the Kims’ semi-basement has a small ground-level window that allows limited light and enables them to see a man urinating outside. In contrast, the Park house features large sliding doors and windows that fill the interior with sunlight and offer a stunning view of their immaculate garden.

The film’s title, “Parasite,” was chosen by Bong for its double meaning, and he had to persuade the film’s marketing team to use it. He explained, “Because the story is about a poor family infiltrating and creeping into a rich house, it seems obvious that ‘Parasite’ refers to the poor family. I think that’s why the marketing team was a little hesitant. But if you look at it the other way, you could argue that the rich family is also a parasite in terms of labour. They can’t even wash dishes or drive themselves; they leech off the labour of poor families. So both families can be seen as parasites.”

The film explores themes of class conflict, social inequality, and wealth disparity. These issues have led some to associate the film with the term “Hell Joseon,” a satirical phrase that suggests living in modern South Korea feels like living in hell. This reflects the harsh realities people face in Seoul, including high youth unemployment rates, intense pressure to pursue higher education, a crisis in home affordability, and a growing socioeconomic gap between the wealthy and the poor. 

The Kim and Park families play central roles in the movie, highlighting contrasting experiences of wealth and poverty. The Kims struggle to escape their financial difficulties, yet they often behave callously toward others in similar situations. In contrast, the Parks embody a naïve stereotype of the wealthy; they speak English without fully grasping its meaning and remain oblivious to the world outside their privileged existence. 

Whilst Da-hye and Da-song are more accepting of Ki-woo and Ki-jung, their parents are very critical of Ki-taek, judging him harshly for his smell and avoiding physical contact with him. This tension highlights that true harmony is unattainable despite both families now under the same roof; one family does not truly belong.