Cast: Song Kang-ho, Choi Woo-Shik, Park So-dam, Lee Sun-Kyun, Cho Yiyo-jin, Jeong Ji-soo, Lee Jung-Yoon, Park Seo-Joon, Jung Joon-Joon, Park Myung- Hoon, Park Geun-rook, Chang Hee-jin
Director: Bong Joon-ho

It is difficult to live in dumps. You have your wiles when you're rubbing for crumbs. On the site, the unemployed, middle-aged Kim Ki-Tak (Song Kang-ho in his fourth outing with director Bong Joon-ho) and his helpless family seize the opportunity when one of them is in a money-walled mansion Man finds a toe, Park Dong-Sik (Lee Sun-Kyun, regular Hong Sang-soo associate). And then there is no stopping fugitive avidity from getting the better of them.

The result of the socio-economic inequalities that pitted people of one class against another is rarely put on the big screen with such barbaric candle and devastating intensity, which Bong brings to his dark humour, the silly drama is. He approaches the topic of deprivation and greed with prickly claws, removing one layer at a time to craft a shocking portrait of debility and opportunism as fueled by a family's desperate measures to overcome poverty.

The Parasite tells a universal story that is situated in a specific cultural milieu and is invested with such freshness and temperament that there is never a danger of getting lost in translation. In dramatic exaggeration, its formal rigour is often offset by stabs. Each tonal shift is described as ultimately important to the audience with astonishing sharpness and eagerness of its effect on the progress of the story.

The parasite is once a sharp scalpel and a massive wrecking ball. The former pierces the core of a neatly arranged world where money seems to be able to buy everything; A later hammer on hollowness and complacency at the end of Parks' lives, which makes them vulnerable to manipulation and abatement.

Once the parasite loses balance, it moves back and forth between completely flickering without suffering. It blends unprecedented writing (by Bong and Han Jin-won), meticulous production design (Lee Ha-Joon) and masterly cinematography (Hong Kyung-pay, Bong's Snowpiercer and Na Hong-jin's The Welling of Coming) Springs.

The screenplay, which is gradually becoming deeper and harder as the fissure erupts and expands, is like a slowly twisted screw that tightens its hypnotic grip on the viewer as it lowers the soul In the income district there is a trace from the skilled semi-basement home. A manicured garden in the backyard of a starched mansion, where an explosion of grisly violence blows the veneer of elegance that creates an architect-designed stylish living space for himself, but who now lives in the thriving Park family Is home

Bong divides the class in a way that is as cinematically dry as it is emotionally intriguing. The film astounds geometric accuracy, reflecting its material and spatial dimensions and details, reflecting the yawning chase, which separates the proper from the Kalamkari. The action unfolds in Seoul's actual neighbourhood, but it doesn't matter which city it is. It can be any urban expansion not only in Korea but anywhere in the world.

It just shows the parasite that wealth, poverty and greed do not have an effect on human life. Rain, sky, sunshine, brimstone, urban decay and architectural kitsch are all important components of the plot. They serve to draw attention to two different levels of existence at two different ends of the city.

Kim Ki-tak and her family's cramped semi-basement house suffers from stink bugs. We do not see one, but we understand the smell. The house, a major part of which is below street level, is moist and fusty. Ki-take is the kind of man who has never made a business or job successful. His wife Chung-sook (Chang Hye-jin) is supportive but just unable to listen. This is Kim's next-generation - 20-something Ki-Jeong (Park So-dam) and his brother Ki-woo (Choi Woo-Shik) - they want to dig themselves out of the hole they're inside.

When someone comes to close a nearby crowded house, the family opens the only window through which the light and air filters in their housing. Foul smells of insects, minimal fumigation and spraying of disinfectants, neither of which Kims has any control over, show the audience a bigger picture. It lies indeterminism.

The other side, of course, is located in a part of the city where the world lives well-heeled without a care, or so it seems when Ki-takes son, Ki-woo, takes the trek to a completely paved bent This stinky park leads to the entrance of Dong-it's residence. The boy is allowed this by the homeowner and he proceeds to present his counterfeit credentials to Yeon-gyo (Cho Yo-Jeong), Mr Park's influential wife. He assigns an English tutor to his daughter Da-Hye (Jeong Ji-so).

But Ki-woo soon infiltrates the mansion with its stairs, spacious rooms and warm lighting, both natural and artificial, making it clear that the parks are destined to sit ducklings in a series of four. Will enable members. The Kim family made their way home and banished themselves from there.

It all starts when a friend who prepares to leave school abroad arrives at Kim's house unannounced and presents them with a scholar's rock - believed to bring good luck - And Ki-woo's offer to replace him - these are personal trainers. Ki-woo quickly figures out a way to get to her sister, who has a special disposition to lie with a straight face at work as an art therapist for Park's hyperactive pre-teen son is kept. The mother complains that the boy is eccentric, easily distracted and difficult to control. Ki-jing teases him in an instant. An impressed Mrs Park is now putty in the hands of a clever maiden.

Ki-Jeong gave the frame to the family's incumbent driver in an incident of sexual misconduct, which led to him driving the mars of Mr Park for his father. Finally, another daring scandal makes Chung-sook easily see the old housekeeper Moon-gwang (Lee Jung-Yoon). Mrs Park believes the maid's peach allergy is tuberculosis and poses a major threat to the family's therapy.

There are ten main characters on the site - four kims, four parks and a sacked homeowner and her husband Geun-sae (Park Myung-hoon), a debt-ridden person who is hidden from the world. Collectively, they form a microcosm of a society that is sometimes overcome by a spreading divide, which is difficult for a distant desire.

While away from the park, there appears to be one in the mansion's living room, but in the scene, Ki-tack, who resembles guilt, wonders if the driver whose job he took has found alternative employment. His daughter berates him. Think of us, she demands.

It is really enjoyable, though provocative and repulsive entertaining parasites tell us. Self-absorption can take a sad toll, but young and restless, as much as the weather-beaten and the world-weary, continue to live in hope. We live in such times. The parasite drives the point home with eye-popping precision - and the force of a thunderstorm.