I can't laugh at how ridiculous "Parasite" is- a masterpiece parasitic on modern inequality

Designer thinking that arouses the “interest” of everyone

Director Bong Joon-ho is known for his meticulously calculated structures, which are often referred to as "Bontail" (Bong Joon-ho + details). This is not limited to the story, but is also imbued with minute meanings, down to the composition of the screen and the props. He not only directs and writes the script, but also does the storyboards himself, and his style of imprinting images in the eyes and minds of the audience is similar to that of a designer (as an aside, his father is a graphic designer).

This is also a designer's way of thinking, but as mentioned earlier, the sense of "catching the eye" and "attracting interest" is outstanding. Director Bong Joon-ho has produced many masterpieces, such as " Memories of Murder " (2003), which is based on a real serial murder case, "The Host" (2006), a groundbreaking monster movie, "Mother" (2009), which depicts a mother trying to prove her son's innocence, "Snowpiercer" (2013), which depicts the stark disparity between rich and poor on a train, and "Okja" (2017), which tackles food issues and animal protection. His works are exquisite in their "mixing." He skillfully weaves in elements of suspense, thriller, and horror, which are easy to get into, into themes that tend to be heavy, and continues to draw the audience's interest.

"Okja" trailer

Born in 1969, director Bong Joon - ho is one generation younger than directors Kim Ki-duk (2012) and Hong Sang-soo (2010) (both born in 1960), and director Park Chan-wook (2003) (born in 1963). He is the same age as directors Wes Anderson and Naomi Kawase. It was a time when subcultures were just emerging, and it is speculated that the genre-less appeal and complex elements of his works are due in large part to the changing times. Incidentally, directors Bong Joon-ho's juniors, such as director Na Hong-jin ( Train to Busan ) (born in 1974) and director Yeon Sang-ho (2018) (born in 1978), have a more pronounced mixed-culture tendency.

Not only is the film original, but the "quotes" that hint at the influence of past masters are also very appealing. A major example is the presence of director Alfred Hitchcock. The frequent use of "looking through a window" scenes is reminiscent of Rear Window (54), and a shelf of films in the film features a collection of Hitchcock's works. It's a scene that gives off a sense of playfulness.

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It is an approach that combines the strengths of various genres to achieve both entertainment value and social impact. Director Bong Joon-ho's deep understanding of the audience's psychology is the reason why he sprinkles comedy powder in the corners of the screen. "Parasite" strengthens the comedy element more than ever, and while the audience feels a cathartic sensation of a poor, unemployed family "deceiving" a wealthy, pure family, it takes a sharp turn from the middle onwards and plunges them into darkness.

If you're feeling comfortable with the idea that this is a story about people with lower status than you, then the audience will suddenly feel as if the bottom has fallen out of their seats. The audience will fall headfirst into the "underground" from which they cannot climb out. Director Bong Joon-ho uses a comedic touch as a "device" in this film, demonstrating a new evolution.

Expressing economic “disparities” in terms of elevation differences and “up/down”