Didn’t You Understand The End Of ‘Parasites’? We Explain It To You

ATTENTION: THIS ARTICLE CONTAINS SPOILERS OF PARASITAS, while destroying the Oscars harvesting the statuettes for Best Film, Best Director, Best Foreign Film and Best Original Screenplay, Parasites returns to become the fashion film – despite having premiered in Spain almost four months ago . And it is that the “called effect” of the Academy Awards has made the re-premiere of the Bong Joon-ho movie rooms in second place in the national box office last weekend (just behind the premiere Sonic), fueling the interest in the director’s previous filmography and, in general, all the films of South Korea. The protagonists of Parasites are poor who inhabit a subsoil and dream of ascending on the social scale. (Image: The Audiovisual Adventure) MoreBut how could it be otherwise, among this new flood of spectators that are receiving parasites are many who, if not for the historic triumph in the Oscars (and, to a lesser extent, for the Palme d’Or in Cannes), would never have approached this strange and dark mixture of thriller, comedy and social drama in which the four members of a poor family are infiltrating, through lies and subterfuges, as domestic employees of A wealthy family. Especially considering that, as with other previous Bong tapes, its history can leave many viewers in a sea of ​​doubts even in spite of its blunt end. So, if you are one of them, in this article we are going to try to clear things up for you to fully enjoy the movie of the season. But we warn you again that it contains many SPOILERS! Remember that, in the first scene of Parasites, the son of the family that is going to infiltrate, Ki-woo, desperately seeks to capture a Wi-Fi signal from the basement in the that lives, while the rest of the members fold pizza boxes in exchange for a miserable salary. Clearly, the Kim are poor. And if their poverty was not already evident, the family allows the toxic gas of a street fumigation to enter through the window in order to save the cost of evicting the cockroaches that parasitize their home. Shortly thereafter, thanks to a friend, Ki-woo gets a job as an English speaker for Da-hae, the eldest daughter of the rich family of the Park family.The Kim decide to infiltrate progressively as servants of a rich family. (Image: The Audiovisual Adventure) MoreAll the first part of the film shows Ki-woo and the rest of his family surreptitiously slipping into the Park house as workers, pretending not to know each other: the sister, Ki- Jung, pretends to be an artistic therapist for the Park boy, mother Chung-sook gets a position as a servant and Ki-taek, the father, is placed as a chauffeur. So far, most of the spectators sympathize with the risky and ingenious picaresque of our protagonist family, but then, and as with many other Bong movies, something completely changes between the first and second third of Parasites. History: It is revealed that the luxurious mansion has an underground bunker in which another family is hidden (it was precisely this third hidden family that led Bong to develop the story). Thus, the maid who was fired at the beginning, Mun-kwang, returns and confesses to the Kim that her husband, Kun-sae, has been living hidden under the Park house for four years. Mun-kwang implores Chung-sook to allow her husband to remain hidden down there, calling her “old sister” and saying that they are both “neighbors in need.” But Chung-sook rejects those labels, as she is not willing to have her family compared to miserable ones who survive by sucking the wealth of a rich family (which, of course, is just what she and her family are doing). Poor faced each other to parasitize the rich, is this the explanation of the film’s title? Maybe not quite, as we will see later. Read more Blind hope leads the Kim to become entangled in a problem with no way out that does not solve their vital situation. (Image: The Audiovisual Adventure) More Thus, both families engage in a fight to claim their “legitimate” place in the life of the Park. At first the Kim stand victorious, locking Mun-kwang and Kun-sae in the basement and enjoying the privileges that so much effort (things as they are) has cost them. But then the gentlemen of the house ask them to spend a weekend with them to celebrate the child’s birthday. In the final act of the film, the Park’s spontaneity and ignorance turns against the Kim. During the party, a crazed Kun-sae manages to get out of the bunker and stabs the Kim’s daughter, Ki-jung – after which the chaos among the guests spreads. The Park boy suffers an epileptic seizure and his parents ask the driver, Ki-taek, to take them to the hospital – despite the fact that his own daughter is bleeding from the knife received. It is at this moment when the man finally understands that he and his family are not and cannot be for the Park anything other than slaves for everything – interchangeable but ultimately indispensable. That, in reality, it is the rich who are parasitizing the poor, no matter how much they smell them. Unleashing all the accumulated resentment throughout history, Ki-taek stabs the Park patriarch and runs away. In the epilogue of the film, Ki-taek has become the new occupant of the bunker under the house – where he survives hidden in the last place where the police would go looking for him. For their part, the Park have moved and instead the house is inhabited by a German family. As usually happens in Bong films, the world continues and its operation seems to have changed nothing. Although the pieces are other, the game is the same: the rich live up, the poor down. The Park celebrates his son’s birthday, oblivious to the plot that looms around them. (Image: The Audiovisual Adventure) MoreThe film ends with the Kim’s son, Ki-woo, waking up in the hospital after suffering head injuries (caused by Kun-sae when leaving the bunker). After having infiltrated the Park house, he is on probation with his mother, while his sister, Ki-jung, has passed away, and his father is missing. As if having a premonition, Ki-woo ascends a hill from which you can clearly see the Park house, and there he notices a luminous flicker that he soon interprets as Morse code. His father, using the method that Kun-sae perfected, is sending him a message. At the end of the story, Ki-woo writes an answer, and his voiceover tells us that he has an ambitious plan: he will go to college, get a good job and earn so much money that he can buy the house and his father can go up and see the sunlight again. The penultimate plane of the film recreates this dream and has a clearly dreamlike or fanciful tone: father and son embrace in the garden of the house, of which they are the new owners. However, next Bong returns to the basement of the Kim (where the story started) and we see Ki-wo writing the message for his father. It is clear, then, what the reality of the end of Parasites is: Ki-wo will always aim at the unattainable goal of overcoming its socioeconomic limitations. And it is here that the film’s title acquires a new dimension: the true parasite for these characters is the blind hope of ascending on the social scale, which incapacitates them to understand their true situation and employ their intelligence in seeking solutions to the underlying problem . Despite everything that happened in the film, the class division and the social inequalities that it generates remain firmly rooted in the minds of the protagonists – and also, we can infer, in those of an entire society as capitalist as that of South Korea. But let’s let Bong himself explain himself. As the filmmaker told Vulture, the final shot of the film works as a “coup de grace” that ensures the intention of the film. “Maybe if the movie had ended with the hug between father and son, the public would have thought:” Oh, if it is impossible to buy that house. ” But the camera descends back to that basement, “Bong says.” It’s quite cruel and sad, but I thought I was being honest and sincere with the public. You, me and we all know that the boy will not be able to buy the houses. I simply believed that this frankness was appropriate for the film, even if it is sad. ”As usual in the Oscar-winning Bong Joon-ho, Parasites ends up making clear the disturbing vision of the reality that its director has. (Image: Chris Pizzello – AP Photo / Gtres) MoreThe truth is that, as Bong’s followers know, the end of his films usually makes clear the director’s pessimistic view of reality (think, without spoiling, in the conclusions of Memories of Murder or Snowpiercer). A disturbing perspective in which fear and anxiety soak everything, spreading a sense of imminent and inevitable catastrophe in various fields: socio-economic, humanitarian and environmental. “I like people who struggle to change society, and I always support them, but making the public feel somewhat naked and raw is one of the great powers of cinema, “adds the director.” I don’t do documentaries or propaganda. It’s not about telling you how to change the world or how you should act against something bad, but to show you the terrible and explosive weight of reality. That, in my opinion, is the beauty of cinema. ”More stories that may interest you: