Out of all the movies I’ve watched so far this year, this is the review I was most nervous about writing.
What can even be said about Parasite that hasn’t already been said?
By now, we all know that this is the Best Picture winner (yay!) of 2020. And yes, it’s as good as they all say it is.
Bong Joon-ho has really created something unique here. Something that really has no set genre and defies continental lines. I mean, it’s the first damn movie not in the English language to win the top prize at the Oscars! Yes, that’s the same #OscarsSoWhite Oscars!
Bong focuses on similar themes throughout his plethora of directorial conquests. Namely, he delves into class structure and societal boundaries. Parasite is no different in that respect. But how it transcends other narratives in this field is that it’s not this movie’s prime focus. Parasite is so much of everything.
A thriller, a drama, a romance, a family movie (sorta), a horror, a crime movie, a political statement… It’s all of those things.
One brilliant piece of juxtaposition that really stayed with me was the use of windows. I’m not actually sure I’ve heard anyone else mention this, but the disparity between the window in the “poor” house in comparison to the “rich” house is so simple and yet so effective. These simple motifs contribute to the film’s brilliance as a whole.
As many have noted previously, this movie is one that will push more cinephiles into the world of foreign language films, and that is such an outstanding achievement in itself. I know I’ve certainly gone that way already.
There’s so little else I can say without ruining it for anyone so…
What I need those who haven’t seen Parasite yet to know is: it’s worth all of your time. Please watch it.
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The Quayside Review 
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