Spoiler alert for “Parasite” and other recent movies
In “Parasite,” Korean director Bong Joon-ho’s newest masterwork that identifies class warfare as as much a fact of 21st-century life as Twitter and streaming entertainment, there’s no telling where a plan will get you.
For a time, a plan gets the destitute Kims – who can’t afford wi-fi and resort to constructing pizza boxes around the dinner table for scant income – into the cavernous home of the wealthy Park clan. The plan then, cruelly, leaves them homeless, having not been there to salvage what was in their sewer of a home when a biblical flood overtakes it.
“You know what kind of plan never fails? No plan. No plan at all,” Song Kang-ho’s Kim Ki-taek tells his son when asked what the plan is going forward.
The domino effect that results from another invasive element having thrown the Kims’ lives into an even higher state of disarray than before is a bloody series of unfortunate events, one that leaves the Kim patriarch virtually imprisoned, his daughter dead and his son vowing to one day free him. “I made a fundamental plan…” he tells him in a message, and even before we see the best case scenario played out on the screen, “Parasite” has betrayed our yearning for catharsis. Joon-ho, after all, has just shown us where plans get people hoping to break out of the confines of systemic capitalism. Art has confronted reality.
More than perhaps any other shared characteristic, this decade’s standout movies often reflected onto us the inevitability of a reckoning—of recognizing systems and histories whose massive consequences have started to be magnified through the communicative avenues of a world that has never been more connected. Movies have always been conversation starters, but the medium takes on a different might when the conversation is everywhere, as the bullhorns of Twitter, acute polarization and slow erosion of privacy standards have ensured is the case this decade. And take on that power cinema has, in ways sometime subtle, in ways sometime extravagant and in ways almost always irrefutable. The line between fiction and non-fiction has never felt nimbler when it comes to the movies. Continue reading →