Parasite is a critically-acclaimed work of Bong Joon-ho, a South Korean filmmaker. The film has been released to commercial and critical success, solidifying its reputation as both an entertaining movie and a poignant social critique. The main messages of the film include poverty, deception and pretence, socio-economic tensions and economic inequality. Through the lives of two very different Korean families, the creators of the film explore the modern reality of their country, while also connecting with the grievances of the underprivileged all around the world.
The ability of the film to be nearly universally relatable stems from the common problems of capitalist nations and modern commodity-based culture. However, the metaphors are messages are still tailored explicitly after the experiences of those who live in South Korea. This work seeks to shed a light on some of these cinematic tools, and settle them in a larger social context.
Applicability to Korea
Metaphors for Korean Reality
Parasite is a movie that cannot be separated from its cultural context. It is a film made to criticise and highlight the issues of Korean economic inequality. South Korea is a country with a large population, a number of key resources and industries that allow it to compete on an international level. The constitutional republic has been influenced by nations such as the US considerably, leading to its current development trajectory. The open market economy provides goods and services both to the people of the country and to the outside world, ensuring a strong and mutually-beneficial relationship.
However, Korea also suffers from a multitude of problems brought about by its economic structure, creating an opportunity for scrutiny. In particular, the disparity between the wealthy and the poor is extremely large, and many families are struggling to make their ends meet every day. The rich are capable of securing opportunity, resources and better living conditions, allowing them to live comfortably while accumulating even more wealth. Those who are less fortunate, then, suffer from various social setbacks and often live in relative desperation. While this arrangement is far from unique to South Korea, the scope of the problem and its prevalence are alarming (Shashwat). The issues of economic inequality shine through the narrative of the film, working to amplify the voices of those who lack their own.
Class Antagonism and Systematic Inequality
Food as the Representation of Class
There are a number of ways in which Parasite seeks to frame the problems it discusses. In particular, inequality is presented as an unbreakable barrier. It is not a problem that can be solved, not a fault of the characters themselves. Instead, it is an aspect of the reality they inhabit, something that is much bigger than themselves. The audience can understand this if they turn their attention to the metaphors contained within the film.
The food that the Kim family eats, in particular, may be seen as a representation of their social class. The Kims’ do not have much money, and they cannot afford to eat well. They are closely associated with pizza, a relatively cheap food that is quick and easy to get. This dish is bought only to serve as a convenient way to get some nutrition. In addition, the inclusion of packaged foods in the Kim household shows their lack of money. The Parks’, in comparison, each extravagant and expensive food, often prioritizing appearances over the actual quality of the meal (Sadhana). Freshly cut fruit, expensive meats and other kinds of delicacies are consumed as a symbol of a larger privileged lifestyle.
Physical Location as a Symbol
The physical placement of the two families’ houses is indicative of the social divide between them. The Parks’ live in an elite neighborhood and an expensive home. They can afford housing that both supports their needs and represents their social influence. Comparatively, the Kims’ reside in a semi-basement apartment, a location that literally puts them below the other family. The elevation of the house is a direct parallel to their social status, and a connection to the larger Korean cultural struggles (Jae-seong). Real-life low income families in Korea often find themselves in underground apartments, which are both uncomfortable and dangerous (Sang-hun). In this way, the film manages to make a reference to a real issue faced by its target audience and create a striking metaphor at the same time.
Hostility Between Families
The two families clash on a number of different axis’s, with the subject of smell earning a special mention. Many critics point out that the movie uses smell as a shorthand for economic status. The Kims’ smell of fumigator of street cleaners, the fact that works directly against their cover story in working with Parks’ (Siobhan). In this way, a smell associated with a particular line of work of location works as a marker of class, and an indicator of success. Furthermore, the Parks can be seen mocking the other family for their bad odor, something that is generally unacceptable in society (Jin-hai). The richer family finds it permissible to disrespect others because of their influence, further widening the divide between Kims and Paks.
Works Cited
Choe, Sang-hun. “‘We Couldn’t Do Anything’: Family Drowns in Seoul Basement During Floods.” The New York Times. 2022. Web.
Gupta, Shashwat, et al. “Nations as Brands: Cinema’s Place in the Branding Role.” Journal of Business Research, vol. 116, 2018, pp. 1-13.
Lawless, Siobhan. “Common Scents: How Parasite Puts Smell at the Heart of Class War.”The Guardian. 2020. Web.
Lee, Jae-seong. Awakening through Literature and Film: Into the Dancing Light. Cambridge Scholars Publishing, 2021.
Narayanan, Sadhana. “Food and Film: Exploring Food in Parasite.” Voice Magazine, 2020. Web.
Park, Jin-hai. “Body Odor Class Gap Guided Bong Joon-ho’s ‘Parasite.’” The Korea Times, 2019. Web.