dailyflicks:

If there’s one thing I hate, it’s people who cross the line.

Parasite (2019) dir. Bong Joon-ho

horrorgifs:

PARASITE |기생충 (2019) dir. Bong Joon-ho

katieleung:

Dad, today I made a plan. A fundamental plan. I’m going to earn money. A lot of it. University, a career, marriage, those are all fine, but first I’ll earn money. When I have money, I’ll buy that house. On the day we move in, Mom and I will be in the yard. Because the sunshine is so nice there. All you’ll need to do is walk up the stairs. 

PARASITE | 기생충 (2019) dir. Bong Joon-ho

fallenvictory:

Ki-jung – the facts are she’s the baby in the family, and she does sometimes come off as the most adventurous and progressive, but also very realistic out of the four Kim family members.  But in reality, she’s very saddening, sometimes, and very heart-aching, because the amount of tests and exams, and the cuts that she didn’t make. 
She seems like someone who’d never complain about it: Her only outlet was the little pouch that she hid on top of the toilet, with the cigarette case and the money.  But she is definitely someone who would never talk to other people about her problems, and in that sense that’s why it was heartbreaking, because she felt that her only outlet was that cigarette box and nothing else.   
But when Ki-jung starts going to the rich house, and takes on the role of Jessica, it was very cathartic as someone who was playing that role, because she was finally able to utilise every single skill that she had, and finally was able to use the tools that she’s been wanting to, but was never given the platform to do so. 

PARK SO-DAM as Kim Ki-jung/Jessica in PARASITE (2019)

andysambrg:

Rich people are naive. No resentments. No creases on them. It all gets ironed out. Money is an iron. Those creases all get smoothed out by money.

PARASITE (2019) dir. Bong Joon-ho

james-flint:

While working on the film, Bong Joon-ho called Parasite a “staircase movie”. It is an upstairs-downstairs film that explores every available rung on the ladder of class aspirationalism. The movie starts in the half-basement apartment of the Kim family, with windows that barely peer above the ground. Half-basements are distinctively Korean spaces in urban centers like Seoul, and while the Kim house is firmly below ground, it still “wants to believe it’s above the ground.” 

 A story about two homes — the upstairs family and the downstairs — reveals yet another lurking underneath. The original housekeeper confesses that her husband has been stowed away in a secret bunker underneath the Park house for four years. The Kims are shocked by the state of his living conditions.

In the end of the film, the father becomes the new resident in the bunker, hiding from the police in the last place they’d look to find him. The Parks move out, only to be replaced by a German family. The particularities may have changed, but everyone’s station has remained the same. There would always be a wealthy person to live upstairs, just as there would be another poor person positioned beneath them. - by E. Alex Jung

Parasite | 기생충 | Gisaengchung (2019) dir. Bong Joon Ho, production design by Lee Ha Jun

andysambrg:

PARASITE (2019) 

Dir. Bong Joon-ho

shangs:

↳ PARASITE (2019) dir. BONG JOON-HO

vonnegutchild:

bong-joonho:

You know what kind of plan never fails? No plan. No plan at all. You know why? Because life cannot be planned. (…) So, there’s no need for a plan. You can’t go wrong with no plans. We don’t need to make a plan for anything. It doesn’t matter what will happen next. Even if the country gets destroyed or sold out, nobody cares. Got it?

Parasite (2019) dir. Bong Joon Ho

This is actually one of the things I loved most about Parasite: the motif of plans. There’s this eternal question: “What’s the plan?” And the reassurance: “I have a plan.”

Because there’s always that line to people in poverty: “Maybe if you planned better, you wouldn’t be in this situation.” “Maybe if you save and manage stuff better, you’d magically get out of this situation.” But this movie is so good at showing that pressure, and showing how futile plans are in the face of poverty and social inequity. No matter what plans the family comes up with, they’re still haunted by the specter of their poverty: the “smell” of the sub-basement, the fact they’ll never “fit” at the fancy house, the scholar’s stone-as-desire-to-be-“made”, the massive flood because of where they love, (and the other specter in the movie).

semiotical:

Dad. I don’t think of this as forgery or crime. I’ll go to this university next year.

Parasite (2019) dir. by Bong Joon-ho