Introduction
Parasite is a critically acclaimed work by a South Korean filmmaker. The film has been released to commercial and critical success, solidifying its reputation as an entertaining movie and a poignant social critique. The film’s main messages include poverty, deception and pretense, socio-economic tensions, and economic inequality. The viewer expects the characters in the movie to develop due to this experience, but this development does not occur. The heroes never find common qualities, each remaining in his world. Food, smells, and dwellings are not just the scenery for the film. These items are metaphors and symbols that give an idea of the impossible gaps between social classes that coexist in the same society.
Metaphors for Korean Reality
The film Parasite is inextricably linked to its cultural setting. It is a film made to criticize and highlight the issues of Korean economic inequality. South Korea is a country with a large population, critical resources, and industries that allow it to compete on an international level. The constitutional republic has been considerably influenced by nations such as the US, leading to its current development trajectory. The open market economy provides goods and services to the country’s people and the outside world, ensuring a mutually beneficial relationship.
However, Korea also suffers from many problems brought about by its economic structure, creating an opportunity for scrutiny. In particular, the disparity between the wealthy and the poor is enormous, and many families struggle to make ends meet daily. The rich can secure opportunities, resources, and better living conditions, allowing them to live comfortably while accumulating even more wealth. Those who are less fortunate suffer from various social setbacks and often live in relative desperation. Although this arrangement is by no means exclusive to South Korea, the severity of the issue and how common it is are concerning (Choe para. 16). Through the film’s plot, the problems of economic disparity are highlighted, helping to give voice to those who do not have it.
Food as the Representation of Class
There are several ways in which Parasite seeks to frame the problems it discusses. Specifically, inequality is portrayed as an insurmountable obstacle. It is not a problem that can be solved, not the characters’ fault. Instead, it is an aspect of their reality, something much bigger than themselves. If viewers focus on the metaphors used in the movie, they will be able to comprehend this.
One could argue that the Kim family’s diet in particular is a reflection of their socioeconomic status. The Kims do not have much money and cannot afford to eat well. They are intimately linked to pizza, which is a quick, simple, and reasonably priced meal. This dish is bought only to provide a convenient way to get some nutrition. Furthermore, the Kim household’s usage of packaged goods demonstrates their financial hardship. The Parks, in comparison, eat extravagant and expensive food, often prioritizing appearances over the actual quality of the meal (Narayanan para. 2). Freshly cut fruit, costly meats, and other delicacies are consumed as a symbol of a more significant privileged lifestyle.
Physical Location as a Symbol
The physical placement of the two families’ houses indicates their social divide. The Parks live in an elite neighborhood and an expensive home. They can afford a place that supports their needs and represents their social influence. Comparatively, the Kims reside in a semi-basement apartment, which puts them below the other family. The elevation of the house is a direct parallel to their social status and a connection to the more immense Korean cultural struggles (Lee 33). Real-life low-income families in Korea often find themselves in underground apartments, which are both uncomfortable and dangerous (Lee 34). In this way, the film manages to reference a real issue faced by its target audience and create a striking metaphor simultaneously.
Hostility Between Families
The two families clash on several different axes, with the subject of smell earning a special mention. Smell is used in the film as a shorthand for economic status, as several critics have noted. The Kims smell of fumigator of street cleaners, the fact that works directly against their cover story in working with the Parks (Lawless para. 8). In this way, a smell associated with a particular line of job or location operates as a marker of class, and an indicator of success. Furthermore, the Parks can be seen mocking the other family for their foul odor, which is generally unacceptable in society (Park para. 5). The more affluent family finds it permissible to disrespect others because of their influence, further widening the divide between Kims and Paks.
Conclusion
Bong Joon-ho is not interested in hidden meanings and complex allegories; he uses simple metaphors that lie on the surface. Each scene is a metaphor for modern reality – food, smells, luxury, the rich’s stupidity, and the poor’s cunning. The only question is how far the director is willing to go in his game with images and genres. If, in the beginning, viewers are sure who the parasites are, by the end, the concept becomes wider. Parasites are the poor, parasites are the rich, parasites are in the basement and the attic, and parasites probably are on both sides of the screen.
Works Cited
Choe, Sang-hun. “‘We Couldn’t Do Anything’: Family Drowns in Seoul Basement During Floods.” The New York Times, Web.
Lawless, Siobhan. “Common Scents: How Parasite Puts Smell at the Heart of Class War.” The Guardian, 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, Web.
Park, Jin-hai. “Body Odor Class Gap Guided Bong Joon-ho’s ‘Parasite.’” The Korea Times, Web.