Gisaengchung (Parasite)

I thought maybe, a teamwork or a satire or some historical metaphor, it was just bonkers!

Joon Ho-Bong might be the only filmmaker to pull this off with a clean job. But this is one of those 21st century crime thrillers, that gets dark as much as it gets clean. I think it is the artificial-ness of the world that wraps these characters which makes us suspicious and scared about where this is or has been leading towards. And that is probably why a film that takes its time and ticks for more than 2 hours, calls you deep into the filthy mud it is so unapologetically a part of. And frankly I loved the plot setting then the close calls or the teasing game.

For in its first half, the film is going exactly how you have been expecting and hoping for it to go. You are loving it. There is a huge smile plastered on your face throughout the first half as you see a schemer gets his scheme into the customers head and voluntarily lets it shake the salesman’s hand. Now, this is something I’d like to point out, which shows Ho-Bong’s experience in this cinematic lifestyle.

What usually happens, is that the schemers starts taking things for granted when the film is about to take turn, but even in its early stages Ho-Bong persists on pointing out the flaw in their plan; a behavior that they are inadvertently putting out on the table which might not be the doom of them in this very case, but whips them brutally in the “morality” aspect of the storytelling. Is this a fair world? No. Not for me. But the madness is honed as a quality and hard work as a result comes off shockingly dangerous. This lunacy is neither encouraged nor put on trial, it is acknowledged by self-awareness, this sort of malleability, present in Parasite, is something that I recently discovered in Christopher Nolan’s films, a wonderful experience.

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