parasite trailer 1 – Can ‘Parasite’ Parlay The International Oscar Into A Best Picture Prize?

He’s going to make so much money that one day he’ll be able to buy the house himself, and all his father will have to do is go up the stairs and walk out into the sun. I didn’t like the people at SymboGen because they were just all creepy and narcissistic.

parasite trailer 2 – PARASITE Info & Tickets

ParasiteParasite has made history as the first Korean film to be nominated for best picture at the Oscars. Weeks later, Ki-woo awakens from a coma and, along with Chung-sook, is sentenced to probation for fraud. He finds out that Ki-jeong died from her wound, and that the whereabouts of Ki-taek, who is wanted for Mr. Park’s murder, are unknown. While watching the Parks’ recently sold mansion from afar, Ki-woo notices a light flickering in Morse code , which turns out to be a message from Ki-taek. Ki-woo decodes it, and learns that Ki-taek now lives in the mansion’s basement as Geun-sae did previously, sneaking upstairs to steal food when the coast is clear. Ki-woo writes a letter to his father, promising to work hard and earn enough money to buy the mansion so his family can live together again.

Mira lives in a crumbling farmhouse with an assortment of cats, horror movies, comics, and books about horrible diseases. When not writing, she splits her time between travel, auditing college virology courses, and watching more horror movies than is strictly good for you. Favorite vacation spots include Seattle, London, and a large haunted corn maze just outside of Huntsville, Alabama.

Other measures paint a similar picture. Take the 1% who inhabit tony neighborhoods like Seoul’s Pyeongchang-dong, the apparent model for the suburb where the Park family live in Parasite.” In the U.S., the 1% account for about one-fifth of all income, rising to 28% in Brazil. South Korea, at 12.2%, is closer to western European levels.

This parasite causes a sexually transmitted disease called trichomoniasis, the most common curable STD. Most infected people don’t have any symptoms, but some may notice itching, burning, or irritation of their penis or vagina. It’s treated with antibiotics.

SONG KANG HO: Now, and as it was the case in the past, filmmakers never really thought much about these blacklists. Filmmakers have always done their best to push and create their passions and their works. I don’t think it was a big influence on Korean artists.

Lee: Mr. Park’s house is an outdoor set built in consideration of the sun’s direction. The sun’s direction was a crucial point of consideration while we were searching for outdoor lots. We had to remember the sun’s position during our desired time frame and determine the positions and sizes of the windows accordingly. In terms of practical lighting, the DP Hong Kyung Pyo had specific requests regarding the color. He wanted sophisticated indirect lighting and the warmth from tungsten light sources. Before building the set, the DP and I visited the lot several times to check the sun’s movement at each time, and we decided on the set’s location together.

People in the U.S. don’t have to worry as much about this parasite as people in Southeast Asia do. The bug, also known as N. fowleri, lives in warm freshwater, and it enters the body through the nose. It causes a condition that destroys brain tissue called primary amebic meningoencephalitis. Symptoms include headache, fever, vomiting, confusion, stiff neck, seizures, and loss of balance. Only experimental treatments are available now, so the survival rate is low.

South Korean cinema auteur Bong Joon-ho has been dazzling audiences since the early aughts with his unique blend of horror, suspense, and sci-fi. It’s the seventh feature film from South Korean director Bong Joon Ho. Only 11 international films have ever been nominated in the Academy’s most high-profile category in its 92 year history.

The editor of Parasite, Jinmo Yang, speaks to Screen Rant about his third collaboration with director Bong Joon-ho, following Snowpiercer and Okja. DEADLINE: You’ve also been able to join the promotion for the movie, which is unusual for a foreign language picture released in the U.S. Usually it’s a lonely tour for the director.


A family of four are struggling to make ends meet while living in squalid conditions. A glimpse of hope arrives when the younger son, Ki-woo, gets a chance to work as a tutor in Mr. Park’s wealthy household thanks to a fake diploma created by his sister Ki-jung. Ki-woo is an instant hit and his pupil falls for him. When he learns that the household needs another tutor, he deceitfully gets his sister the job without revealing her identity. Ki-woo, Ki-jung and their parents believe they can milk the Park family but their plans spiral out of control.

Instead, the two families fight for their place at the trough. Temporarily the Kims win out, trapping Mun-kwang and her husband, Kun-sae, in the bunker. That is, until the Kims are asked to sacrifice a weekend off to throw a birthday party for the Parks’ baby boy. In the final act, Bong carefully constructs the Parks’ carefree spontaneity onto the backs of the Kims. During the festivities, Kun-sae, the mad, entrapped husband, emerges from the bunker and stabs Ki-jung, creating total pandemonium. The Park child faints, and his parents demand the father, Ki-taek, drive them to the hospital, even as his own daughter is bleeding to death. That moment clarifies what they should have known all along: that their lives are still constrained by servitude, and that they work merely at the whims of their employer. So Ki-taek stabs the wealthy Park patriarch and runs away.

BONG: Before language, I just hope that this becomes an opportunity that can powerfully prove the universality of this story, and the themes of this story. That, whether it’s set in the U.S. or the U.K., this story can be applied to the rich and poor in all countries.

This is the most formally polished work we’ve seen from Bong: As opposed to the herky-jerk genre-hopping of The Host,” here the story elides so seamlessly from one mood to the next that the joins are near-impossible to find, like those of the poured-concrete walls of the Parks’ modernist dream home. Production designer Lee Ha-jun’s conception of the two contrasting residences, one a grotty subterranean hovel, the other a clean-lined work of livable art on a gated suburban hillock fringed to perfect privacy with dense trees and shrubs, is a masterful example of evoking class difference through space and light. Those are commodities that apparently only the rich deserve.

Parasite” has a cynical view of how class operates in a capitalist society, but as Bong has said, it’s also painfully realistic. Geun-se worshiped Mr. Park and his professional success but continued to live beneath him. Ki-taek, who acted upon his anger, still remains beneath another rich family. On that fateful day, he ran from the backyard with blood on his hands — not Mr. Park’s, as one might assume, but his own daughter’s. Their quest for upward mobility is futile.

The “Parasite” director and production designer Lee Ha Jun reveal the meticulous process behind building the film’s layered house from scratch. Greed and class discrimination threaten the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.

Considering the filmography of director Bong Joon Ho (which includes The Host and Okja , both creature features of a sort, as well as Snowpiercer), it may come as a surprise that something with the title of Parasite isn’t about monsters (at least of the non-human variety). It’s about the class struggle between the haves and the have-nots and, although there are times when the social commentary – visceral as it is – becomes heavy-handed, the movie never loses its momentum, with each act ratcheting up the stakes as it moves inexorably toward a violent, grotesque climax.

The movie opens with a lower class family trying to work together to earn money. Bong himself was briefly a maths tutor for a rich family when he was a student, but unlike Ki-wood in the film, he was fired after just a few months. He says it’s because he was “horrible at maths”.

The Kims’ fortunes change after the son, Ki-woo (Choi Woo Shik), lands a lucrative job as an English-language tutor for the teenage daughter, Da-hye (Jung Ziso), of the wealthy Park family. The moment that he walks up the quiet, eerily depopulated street looking for the Park house it’s obvious we’re not idling in the lower depths anymore. Ki-woo crosses the threshold into another world, one of cultivated sensitivities and warmly polished surfaces that are at once signifiers of bourgeois success and blunt reproaches to his own family’s deprivation. For him, the house looks like a dream, one that his younger sister and parents soon join by taking other jobs in the Park home.

It’s a surefire kill,” Bong tells me about the final shot. During our few days together in Los Angeles , we discussed the many filmmaking choices he made for Parasite, including the ending. He’s using a Korean phrase (확인사살) that essentially describes the final gunshot you take to make sure someone is good and dead. Imagine an action flick where a trained soldier shoots down an enemy and then walks up to their body and shoots them once more in the head. That’s the surefire kill. The ultimate insurance. And that’s what he wanted the ending to do.

Are the villains the Park family—the oh-so-privileged Dong-ik (Lee Sun-kyun), his neurotic wife, Yeon-kyo (Jo Yeo-jeong), their daughter Da-hye (Jung Ji-so) and her pesky younger brother Da-song (Jung Hyun-jun)—who live in a sprawling, haut-moderne suburban home so vast that even they don’t know what is under their feet? (This will be a major plot point.) Or are the bad guys the Kim family—the teenage Machiavellian genius Ki-jung (Park So-dam), her brother Ki-woo (Choi Woo-sik) and their mom and dad, Chung-sook (Jang Hye-jin) and Ki-taek (Song Kang-ho)? The seemingly shiftless Kims, who live in a basement at the end of a urine-bedewed Seoul alleyway, eking out a living folding pizza boxes, will inveigle themselves into the life of the Parks with catastrophic consequences. But drawing conclusions is not what Bong is about.

SONG: It is physically demanding because for all of us—not just director Bong—it’s our first time going through an awards campaign. But because we’ve never done it before, everything’s very fresh and a big surprise. Seeing how passionate everyone is has really motivated me as a filmmaker. It feels like we’re all in this together. We see them every day and they’ve started to feel like family.

But the clouds have parted, thanks to streaming services such as Netflix and Amazon Prime becoming major producers of acclaimed original films, and the traditional Hollywood studio system course-correcting its initial overreaction to them. They’re back to making enjoyable movies regular people want to see.


The story moved a bit slower than I would have liked but the information was interesting so I didn’t get bored. We met some new characters that I liked and I enjoyed the people we met at first. I hated Sal’s family. They were bossy, secretive and pains in the ass. More than once I found myself cringing when they said something to Sal and I thought, how could you SAY that to your daughter! I didn’t like the people at SymboGen because they were just all creepy and narcissistic. The secretive people that are determined to give Sal answers weren’t much better since they were clearly using her for their own means. By the end the only characters I liked were Sal, her boyfriend, and Tansy.

The script for Parasite” will get a ton of attention as it’s one of those clever twisting and turning tales for which the screenwriter gets the most credit (Bong and Han Jin-won , in this case), but this is very much an exercise in visual language that reaffirms Bong as a master. Working with the incredible cinematographer Kyung-pyo Hong ( Burning ,” Snowpiercer”) and an A-list design team, Bong’s film is captivating with every single composition. The clean, empty spaces of the Park home contrasted against the tight quarters of the Kim living arrangement isn’t just symbolic, it’s visually stimulating without ever calling attention to itself. And there’s a reason the Kim apartment is halfway underground—they’re caught between worlds, stuck in the growing chasm between the haves and the have nots.

The idea behind this book is a good one although I have to admit I was skeptical about the idea that science had engineered tapeworms to treat our medical ills. These things can secrete medication, adjust metabolism, mend some injuries, and a whole host of other things. But I have a hard time believing that just in a decade from now 99% of society will be totally cool with intentionally ingesting a parasite. I didn’t really buy that but then I had to remind myself that there are people out there who buy tapeworms off the internet to lose weight so maybe it’s more possible than this wouldn’t be as hard of a sell as I believe.

The film stars the director’s frequent collaborator, actor Song Kang Ho as, Ki-teak – an unemployed and unambitious 50-something, and patriarch of the Kim family. Bong said he hopes it will serve as inspiration for a lot of people. Deadline assembled the cast of Parasite and director Bong Joon Ho on the day of their SAG Ensemble win. We’ve never had this many actors together before,” Bong said.

Anyway, while reading Parasite I came to realize that Mira Grant’s work just isn’t my cup of tea. I love me an occasional plot-driven book but that doesn’t mean that I want the book to be filled with one-dimensional characters, a whole lot of info-dumping of science stuff that is close to making me fall asleep, which is why I just don’t care about the plot. While the narration style in Parasite differs from the one in Feed, it still reminded me heavily of Feed. I felt no connection to any of the characters, even if here they at least showed some kind of emotions. I didn’t care for this world we’re introduced to, where humans can have tapeworms implanted that will secure their health. The concept sounded interesting at first and I was looking forward to—next to giving Grant another chance—exploring this world where something like that is possible.

One day, son Ki-woo (Choi Woo-sik) is given a great opportunity: His friend is leaving a job tutoring a wealthy teenaged girl in English and would like to recommend Ki-woo in his place. Ki-woo agrees, introduces himself to the Park family as Kevin,” and starts tutoring Da-hye (Jung Ji-so), who promptly falls in love with him.

I’m fighting off the urge to quote Samuel L. Jackson. The infamous Snakes on a Plane quote kept running through my head while reading this book, except swapped out with the word “worms” instead of “snakes.” There weren’t actually any parasites on a plane though (even though there were a lot of them), so I am refraining.

When Kim Ki-woo (Woo-sik Choi) agrees to take over from his friend as English tutor for the daughter of a wealthy family, the stage is set for an epic showdown as class warfare meets black comedy, with the stakes deadlier than you could ever imagine. Working with some of the most outstanding actors in South Korea, writer-director Bong Joon Ho (SNOWPIERCER, OKJA) crafts a brilliantly layered world filled with gasp-out-loud moments. An intricate blend of bravura sequences, stellar character work and narrative twists, PARASITE was the Palme d’Or winner at the 2019 Cannes Film Festival. Nominated for six Academy Awards, including Best Picture, Best Foreign Language Film, Best Director, and Best Original Screenplay (Bong).


The social commentary of “Parasite” leads to chaos, but it never feels like a didactic message movie. It is somehow, and I’m still not even really sure how, both joyous and depressing at the same time. Stick with me here. “Parasite” is so perfectly calibrated that there’s joy to be had in just experiencing every confident frame of it, but then that’s tempered by thinking about what Bong is unpacking here and saying about society, especially with the perfect, absolutely haunting final scenes. It’s a conversation starter in ways we only get a few times a year, and further reminder that Bong Joon-ho is one of the best filmmakers working today. You’ve never seen a movie quite like Parasite.” Dammit. I tried to avoid it. This time it’s true.

Dad Ki-taek (Song Kang-ho) becomes the Parks’ chauffer, mom Chung-sook (Chang Hyae-jin) displaces their longtime housekeeper, Gook Moon-gwang (Lee Jung-eun), while Ki-woo’s sister, Ki-jeong (Park So-dam), is hired as an art therapist for Da-song (Jung Hyeon-jun), Da-hye’s wild little brother. It’s an integral part of their scheme, of course, that they all pretend to be strangers to one another.

BONG: It was called Yellow Door because the door of our club room was painted in yellow. That’s why we named it that. My job in the club was to manage the video collection. My job was to illegally copy all of the great American classics, so that we could all study those films.

Parasite” has only picked up steam through the summer and fall, going from a longshot to a lock — and now, eight days before Oscar voting begins and two-and-a-half weeks before the 92nd Academy Awards, it has a real chance to win Oscars for Best Director and Best Picture, along with its guaranteed win in the international category.

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