Movie review: At the heart of Parasite is the most gnawing evolutionary fear of all, the inability to protect one’s family
’s that their existence is a masturbatory farrago of trash-movie tropes. The South Korean director thinks in metaphor. It’s his métier. Consider the first shot of: what looks to be an empty birdcage draped with socks in front of a window that’s partially below street level.
It turns out — this could be construed as a spoiler, but it cracks the movie open and needs to be reckoned with — that there are people even lower than the Kims, people whose existence is entirely subterranean, who stink worse of mildew and excrement, whom the Kims must now keep down the way others have kept them down. By then, Bong has left social realism far behind and moved into horror-movie territory, into haunted houses, buried secrets, pop-up skeletons.
You could never call Bong subtle. After a symbolic rain causes the symbolic sewers to overflow and symbolically flood the Kims’ symbolic basement apartment, Kim Sr. is forced to perform at the Parks’ fancy house party in a symbolic Native American headdress. The climax, though surprising in its splatter quotient, is telegraphed.is the visual wit — every shot distills the movie’s themes — and the richness of the characters and performances: Song’s stricken expression as Kim Sr.
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