Bong Joon-ho's seventh feature film released in 2019. It is a black comedy family drama film about a meeting between the upper and lower classes and two families.
It is the first Cannes Film Festival to win the Palme d'Or, Golden Globe Foreign Language Film Award, the second British Academy Foreign Language Film Award, the screenplay prize, the first non-English film to win the SAG Actor's Guild Award, and the 92nd Academy Awards for Best Picture, Best Director, Best Screenplay and International Film.
Movie experts and enthusiasts like the detailed filming of the movie, art and other well-organized screenplays that contain messages about the tragic conflict between rich and poor, are well received.
Unlike the general difficulty of directing and delivering these films, which are slow to breathe and are shunned by the public, the audience has a good reputation. Although the work has been devoted to MiJangSen, it is not difficult to understand because the method of delivery is not too difficult to understand. There are many elements that the public will like, such as black comedy, unfailing story, twist, thriller production, charming characters, and a clean end to the lottery, and the completion of these elements is so high that they don't bother to look for meaning and provide entertainment. Aside from director Bong Joon-ho's previous works, Seolguk Train, Okja has been well received by many movie experts and critics, it is in contrast to the favorable atmosphere among the general audience due to its futile open ending and somewhat bored production.
Due to the detailed production of the gap between rich and poor, he also caused sorrow and hurt among people who had lived under the ring. Most of the stories of movies about the gap between rich and poor flow into the 'poor but good citizen vs. corrupt upper class' and are criticized for having too much of a cliche and political element, but in the case of parasites, they cleverly avoided such criticism through careful screenplay and production. By creating a three-dimensional characterization in which good and evil are not clear by showing the dark side of people of each class in its entirety, it is relatively free from political controversy because it shows the deployment focused on the problems of the rich and poor and the accompanying comic conflicts instead of directly presenting political elements, replacing them with indirect settings and complex plot plots.
Director Bong Joon-ho said, "If you are a Korean, you will understand it 100 percent," and received favorable reviews from foreigners, citing the universal theme of 'the gap between the rich and the poor.' In a way, the response from foreign countries is more explosive than in Korea, especially in North America, where the ratings of the audience surpassed even Old Boy, and recorded the highest score among Korean films.
Most foreign audiences who saw parasites on the day of Cannes’ screening said the content of the film was the same as that of their own country, and one Englishman was quoted as saying that if the film was remade against a London background, there was no need to fix any scenario. Also, in Vietnam, over-violet rays, drivers, and housekeepers can sympathize with each other, and it is said that the most empathetic scene is that the poor are displaced by the flood. Americans can remake it in Los Angeles or Washington tomorrow," said officials from Italy and Hong Kong. Alejandro Gonzalez Inarritu, director of Cannes Film Festival’s screening committee, called the parasite "a very local (Korean) and global film." The movie's tremendous response is that social discontent over the gap between rich and poor is not only a problem in Korea but also a global concern.
At Rotten Tomatoes, freshness remained at 100 percent with a unanimous Fresh until about 150 critics assessed it. As of Dec. 30, 2019, the company has maintained a record of 99 percent freshness and 9.41 grade points with just three rotto pieces until the time of assessment by 340 critics, and the rating has risen as the number of evaluators increases. At IMDb, it has maintained the No. 1 ranking among Korean films since Oct. 19. On the Metacritics Pick The Best Movie of 2019, as of January 11, 2020, the second best film, Once Upon a Time... It was the overwhelming No. 1 with 142 points difference from In Hollywood and the No. 1 in the 2010s.
Even in 2020, when screening ends in Korea and the third month of screening in North America, IMDb has been getting higher ratings. It is ranked 22nd in the IMDb TOP 250 as of Feb. 11, 2020, which is the second-highest rating among Asian films and the second-highest rating among films released in the 2010s.
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