A brilliant opening shot from the basement of the Kim’s semi-sunk apartment (with drying socks as their chandelier). It ends on the same note — spectacular formal bookends (for a second I thought we were going with an unearned Spielbergian Minority Report-like ending (Bong’s penultimate shot which is another stunner just before the final shot) but thank god Bong didn’t go for that). That shot is a dream, lighting coming in, and then we end with the second shot below here- the cold winter through their depressing sunken apartment window.
the opening shot– masterful formal achievement with the bookend final shot
we end with the second shot below here- the cold winter (not accidental after the sunshine-laden dream shot just before it) through their depressing sunken apartment window
Two families, two houses (fantastic set pieces) and the different literal and metaphorical level in the house and the city (half-sunken apartment, the hidden basement apartment, the mansion on higher elevation than the rest of Seoul (as we see during the flood sequence– 92 minutes rain and run back to house. Stairs down in long shot –Biblical flood)) are all a part of the narrative but of course is Bong’s social statement as well. This class statement and the family as a unit (important to Bong in his body of work) is all Bong. He makes a similar statement in Snowpiercer of course with the different classes in the carts and what keeps the train going (much like the title here literally living off the classes). Like all great auteur cinema, Parasite works a supreme stand-alone film, but also deepens and enriches Bong’s previous films
the flood sequence– 92 minutes rain and run back to house. Stairs down in long shot –Biblical flood — along with the bookend shots the greatest stylistic and formal moment in the film– sublime
Two families, two houses (fantastic set pieces) and the different literal and metaphorical level in the house and the city
I don’t know how you write a review of Parasite without mentioning Bunuel. Parasite has the best of Bunuel- there’s The Exterminating Angel and The Discrete Charm of the Bourgeoisie here. Bong, like Bunuel, takes a flamethrower to the bourgeoisie but Bong’s Parasite is more complex than Bunuel’s middle-finger cinema as the Kim family also holds on for dear life to their new-found social standing when the previous housekeeper and her husband threaten it.
The depiction of the Park family is dark. Their sex scene together pretending to be on drugs and lower class is revolting and could be right from Bunuel. This is also yet another scene where the Parks are both physically and socially above the Kim family (the Kim family is hiding underneath their furniture).
Open discussion of the thesis, the rich, creditors and debtors. This isn’t subtle- it’ll be interesting to see how critics compare it with Joker as they have much in common frankly.
This is bleak but never punishing—it’s an incredibly easy 132 minutes
from almost the opening with the WIFI gag we’re off and running, laughter paired with a timely social statement
Like The Shining, Bong has weaved the Native Americans here as a symbol of oppression
Bong has brilliantly weaved the Native Americans here as a symbol of oppression
the first 53 minutes are really The Sting (broadly of course)- an eleborate and entertaining heist game with social class context
Class also plays a part in 2018’s Burning from Lee Chang-dong (both use cinematography Kyung-pyo Hong). Lee Chang-dong and Bong are the Godard and Truffaut of the South Korean New Wave here over the last 20 years. After one viewing of Parasite I think Burning is the slightly superior work. There’s nothing here like the finale climax of Burning in terms of pure filmmaking or the jaw-dropping long-take Jong-seo Jun’s character stripping and dancing desolately in the magic-hour dusk
Von Trier’s Dogville is another film that I think is an apt comparison, some of the work of Pasolini, and definitely Peele’s Us, and Get Out
A key shot is the views from the windows of the two residences again. The Park family has a pristine paradise. The Kim family is literally getting pissed on by drunks who stumble around a half-level above. The two houses are important set pieces, but the windows (both have prominent windows) specifically– masterful
A key shot is the views from the windows of the two residences again. The Park family has a pristine paradise
The Kim family is literally getting pissed on by drunks who stumble around a half-level above.
Bong continues to be a master of blending genres. This film is a satire, and a wildly successful one, but there are elements of real connection (the two Kim men lying next to each other talking about their dreams), moments of an elevated drama, and there well executed moments of a visceral thriller as well — think of the comic moments in Joe Pesci in Goodfellas or even the recent example of Adam Driver doing slapstick in the scene with the case worker in Marriage Story. Bong does it so well here.
Bong continues to be a master of genre blending. This film is a satire, and a wildly successful one, but there are elements of real connection (the two Kim men lying next to each other talking about their dreams), moments of an elevated drama, and there well executed moments of a visceral thriller as well
there are multiple rewarding levels and layers to the film– both text and subtext– the stick bugs (not something I remember from the first viewing), “Crossing the line”, the landscape stone and it’s significance, “so metaphorical”- haha
there are multiple rewarding levels and layers to the film– both text and subtext– the stick bugs (not something I remember from the first viewing), “Crossing the line”, the landscape stone and it’s significance, “so metaphorical”-
the voice over at 116 is really the coda and switching to the letter written. I think it is fine formally.
feels like it is at least a Must-See film– perhaps a MS/MP or even a MP with a third viewing.
Here were my notes from a very recent viewing of the film. Probably viewing #4
If I had to teach a class on film form using a 21st century film this would be one of the first films I’d get to. ITMFL is obviously the crown jewel, and then some PTA comes next, but Parasite is right there in the next tier of films after that
There’s just so much to go into formally — I don’t have the time to do so right now. Drake does cover a lot of it (I will try not to repeat too much of what he says so go check out his review) — and some comments on the site by James fills more holes, but there’s even more beyond that
The way Joon Ho(e) builds up and juxtaposes the two families/houses visually is what’s probably the most impressive aspect formally. Yes – it’s the set pieces themselves (compare the clean, wide-open, minimalist architecture of the Park’s mansion to the Kim’s claustrophobic, cluttered, disgusting apartment) — and even where the set pieces reside geographically in the city (the Kim’s apartment is literally at the bottom of the city, and even half-sunken below street level while the Park’s house is literally at the physical top of the city) — but it’s also the way that Joon Ho chooses to shoot the two houses relative to each other that impresses me so much. My favorite example is probably in the living room “view” that each house has, these two families could not be living farther apart and Joon Ho shows us that compositionally
Pause on what I said about – the bookends may have something to say on the most impressive formal aspect of the film. The film starts and ends with these stunning shots out of the Kim’s living room window, with sock chandleries. In the first shot it is bright, sunny, and even though the family is struggling economically, they are still alive and together. In the last shot it is now cold, desolate, snowing and the Choi Woo-shik character is all alone. Really the entire last 15 minutes of this film does the Call Me By Your Name ‘winter epilogue’ thing here to incredible effect
There’s repeated form of impressive wide shots in the Park’s house with characters constantly spying on each other. Joon Ho uses the full frame, and walls/angles to hide characters from each other. Compare that to to the Kim’s house where there is essentially no possibility of eavesdropping or sneaking; the Park’s house is such a massive-labyrinth that you literally can have people secretly living there for 4+ years and never know
Really the way Ho shoots the Park’s house is nothing short of brilliant. Such handsome, clean mis-en-scene. Symmetry and exactism always in his compositions and in the way he moves the camera. There’s dozens just from the interior of this house that impress
The film really, kind of abrasively shifts genres atleast twice. The first 40%~ of the film (right before the housemaid comes back) is a pretty funny, light-social satire), then the housemaid returns and we pivot into a very dark thriller territory, and then the last 20-25 minutes as the basement dweller emerges at the birthday party we finally pivot into a sort of full-on horror-tragedy. Despite this, I think this is one of the most expertly paced films of the decade… how it is even possible to so drastically shift tone and (like I said, really) genres and it not only not feel disjointed, but it to never lose its propulsion, I don’t know. It’s an immense feat of editing
The overhead shot is brought at 3 (by my count) big, pivotal moments: you have the first moment during the (humiliating) sex scene on the couch where the Kim’s (and particularly the father’s) opinion of the Park family completely flips on its head, the second one is at the end of the flooding sequence (and is an absolutely stunning shot) and then the last one is as Song Kang-Ho’s father character flees the backyard after committing the murder
There is a montage at the end of the (if you really wanted to call it that) “first half” of the film that is immensely impressive filmmaking. The infiltration of the Park family was very meticulously built up until this point, but this montage just glides us into the next step of the story by covering so much information in such a short amount of time
Such narrative economy. The “chimpanzee” painting is just the man in the basement; the lights only flickering in step with the father (something you would have only picked up on if you were truly dissecting the film) is explained later. The Morse code and Boy Scouts comes back. Native Americans inserted as a symbol of oppression like Kubrick does in The Shining
Narrative form with “planning” being shown and blatantly-stated to be useless and always bound to fail . So when we come back at the end of the film and the Choi Wook character is writing to his dad that he has a “plan” to get rich and buy the house, we as the viewer know to take this fantasy as totally unachievable day-dreaming (and the Kang Ho character will know that as soon as (if) he reads the letter – which is even more heartbreaking). There’s no serious reading of the film where someone can walk away thinking that this fantasy is going to happen
Kang-Ho’s character sort of allegorically “trapping” the poor in this loop of reliance on the rich by living secretly in this parasitical-basement is just superb
So much more intelligent and honest than typical “rich people suck aha!” satires. Both the rich and poor are parasites of each other. And the poor families turn on each other immediately when the context changes
There’s an interesting aspect of the ‘basement dweller’ character sort of worshipping Mr. Park. He leaches off of Mr. Park, yet Mr. Park doesn’t even know who he is or how he’s important to him
There is a very strong oner during the basement reveal that really elevates the intensity of that moment (what a moment)
There’s actually some strong Bergman like face framing periodically when characters lay down next to each other on beds/couches (one characters face is often a little out of focus). I like one shot in particular at the gym post-the flood
There’s repeated form of impressive wide shots in the Park’s house with characters constantly spying on each other. Joon Ho uses the full frame, and walls/angles to hide characters from each other. Compare that to to the Kim’s house where there is essentially no possibility of eavesdropping or sneaking; the Park’s house is such a massive-labyrinth that you literally can have people secretly living there for 4+ years and never know
It’s certainly not as photographically potent as 3 other 2019 films (Midsommar, About Endlessness, or Vitalina Varela) but there are still 50+ very impresive compositions here
Probably my favorite pure narrative of 2010s. It’s so rich, so layered, I could write for hours on end about it. It’s not shock why this film got the reception it got — it’s one of the young centuries greatest narrative and scripts for sure. In that regard, it’s earned its seat at the table with which most people put it (#14 or 15 all time on Letterboxd iirc)
I have “Slashed wires” written down as a note but I’m not entirely sure what I was meaning there. There is a shot as the Kim’s return home during the flood (an immensely accomplished sequence in photography and architecture as character followed by the Park family receiving the rain in the complete opposite way) where there’s a huge amount of jumbled wires that result in one of the best compositions of the film. Maybe that’s what I was referring to
The shot of the “ghost” on the stairs is seriously as scary as any shot in any horror film maybe ever and his character crawling up the stairs toward the camera reminds of when Gollum/Smeagle’s mid-transformation form crawls toward the character in the Two Towers flashback (bet you weren’t expecting to read that comparison)
Flawless performances all around, I don’t have a nitpick. Song Kang Ho is Korea’s greatest actor and the obvious standout (the moment he tried to connect with Mr. Park at the bday party and Mr. Park brushes him off is brutal — Kang Ho’s face is so weathered by this point (post-flood). But I enjoy the work of every other lead in the film and I think Park So-dam, Cho Yeo-jeong and Choi-Woo Shik are not very far off from sliding into the best of the year category
The goat film of YouTube comment section analysis. Everyone for a PHD in art criticism when it comes to Parasite somehow
Such a big achievement. Joon Ho(e)’s best achievement to date — and I have Memories of Murder as a MP. A sure-fire Masterpiece and my pick for the best film of 2019 (one of the great years in all of cinema)
@Matthew – wonderful write up, I love this movie so much. I think it has a case for top 5 screenplay of the decade.
“There’s an interesting aspect of the ‘basement dweller’ character sort of worshipping Mr. Park. He leaches off of Mr. Park, yet Mr. Park doesn’t even know who he is or how he’s important to him”
Great point. Another aspect of form related to the plot is the way it uses smell as the trigger that leads to Mr. Kim stabbing Mr. Park to death. It is set up earlier in the film when Mr. Park makes a comment to Mrs. Park about the way Mr. Kim smells. After everything Mr. Kim and his family went through in the days leading about the birthday party, it is something as seemingly minor as a man pinching his nose that sets of his suppressed anger
@James Trapp — agreed there on it being in contention for top 5. What would your top 5 look like? My list would start with The Master at 1 and The Social Network at 2. After that I would really need to do some reevaluating to confidently fill out my top 5 but the immediate screenplays that leap to mind are: Parasite, First Reformed, Birdman, Inside Llewlyn Davis, OUATIH, The Irishman, and True Detective. Maybe Shame as well but it’s been so long since I’ve seen that one
@Matthew – Those are great picks, I do not have an exact list but in addition to the films you listed, a few more I would add as amongst the best: The Handmaiden (2016), Grand Budapest (2014), Get Out (2017), Nightcrawler (2014), Manchester by the Sea (2016), BlacKkKlansman (2018), Burning (2018)
“ feels like it is at least a Must-See film– perhaps a MS/MP or even a MP with a third viewing”
Have you gotten to that third viewing yet? What’s the current grade? I plan on getting to this again soon. Would be my first viewing of the film in atleast 3 years and I’m a significantly better evaluator now than I was then
This is viewing number 5 or 6 but the first time I decided to take notes
Bong goes with a 2.39 : 1 aspect ratio in all its glory, definitely worth watching this on as big a screen as possible
6:15 the Kim family celebrates with beers the small things like the “boundless Wi-Fi” haha
Brilliant that Kim family literally lives below ground level
12:20 “so you’ve got a plan” this point is repeated throughout the film
12:50 shot of Kim Ki-woo literally walking uphill toward his meeting with the Park family
20:27 **
21:01 **
46:36 **
1:19:05 **
** One of the revelations watching this again is there are so many shots of characters talking to or looking at each other literally on different levels; whether it is staircases, steps, hills, etc. there are so many shots indicating the characters are not all on the same level playing field so to speak. This is something I certainly noticed previously, but it is constantly reinforced throughout the film to the point where it is almost impossible to include every instance in these notes unless that is all you do
53:17 the Kim family again toasts and drink beers now having all secured full-time jobs
56:00 and 57:08 and 1:00:53 great use of glass door as a frame for shot of the Parks of the huge backyard
1:03:17 great composition with Kim family’s party interrupted by old housekeeper ringing doorbell
Bong’s ability to shift tones is at Masterful level and is also unique. The 2nd half of the film reaches Hitchcockian levels of suspense as there essentially become 3 relevant parties; the Kim Family, the Park Family, and the old housekeeper and her husband
92 min mark the Kim Family makes their escape from the Park Mansion and returns home, almost the entire journey back we view them running literally downhill, downstairs, etc. There is a brilliant frame at 1:35:04 that I had not noticed during prior viewings it is during the return to the Kim house at night the streetlights give the frame an orange almost even sepia color
The ending was brilliant with Mr. Kim now in the cellar
There was so much hype when this was first released that before this most recent viewing, I was concerned that I might end of dialing back the praise ever so slightly. I am pleased to say that this did not happen. This is just as great as I thought
@Drake – yes, as you note this is a film that rewards multiple viewings, I am excited to revisit some other Bong films like The Host (2006) and Mother (2009)
@Christopher- Thanks for the comment. Not exactly sure yet, I’m both excited to get back to the 2019 list and sort of dreading it as there are so many brilliant films from that one year.
@Matt Harris— yeah the bookends walloped me. Especially pairing the shot before the final shot. Also, the entire flood sequence and brilliance of it escaped me the first time around. I mean i noticed it obviously, but not the genius behind it.
I am very interested to hear why you think there is so much discrepancy between the critics and you, most have it in the one (including metacritic)
I had it in one but it has been changing, if i had not seen your top in which Midsommar was # 1 i would never have seen it, i am grateful.
I still think The Irishman is the best movie of 2019
1.The Irishman
2.Once Upon A Time
3.Midsommar
4.Parasite
5.Ad Astra
Finally, where would you put Parasite?
@Aldo— I mean I think the social message is the easy answer. That means more to critics and the academy than it does to me in terms of a work of art. It isn’t something that really factors in for me. I care about how it’s executed visually and stylistically (and I picked up more on that with a second viewing which is why I’m moving it up).
I’m not sure yet where I’d put Parasite. Sorry. I just saw it and want to give it a little. 2019 was an incredible year. Once Upon a Time, and The Irishman are spectacular as well.
You really made my day….. this is truly a “I changed my opinion” situation, haha. I’m really excited about your updated best of the year lists. I know it’s not good because a film needs time in our minds, but would Parasite make your top 5 of 2019 ? I mean from #11 to top 5 is a pretty huge jump and that’ll launch it in the best of the decade list also, I think you have it #67 but with your reassessment here it could easily jump to top 40.
@Cinephile– I’m really not sure. Both 1917 and Marriage Story are really strong films but I’ve only seen them once. Ad Astra, too. I’m just not ready to do it yet. I’m sorry- I know that’s not what you’re looking for. I do think this is more evidence of how special 2019 is. I truly believe it’ll be one of those years we may look back on like 1999 or 2007. Bong, Baumbach, Gray doing career-best work…. truly incredible work from already-legends like Scorsese, Tarantino— and then you add the up and comers — wow.
@Cinephile. Happy to hear it on Midsommar!!! I have a page for it here from the summer with all of my ramblings here https://thecinemaarchives.com/2019/07/08/midsommar-2019-aster/ . I’m very excited about Aster and Robert Eggers. They’re not alone– there are other talented young auteurs— but I think they’re important for the future of cinema. For me, this is back to back years with Aster making a top 10 film. That’s remarkable.
@Drake. I saw Midsommar and I have to say it was excellent, better than Hereditary for me and I loved that the film although horror had that colorful atmosphere. I liked Hereditary too but I wasn’t impressed, my main problem was the ending but of course a good film in the end. So another wonderful film for 2019.
@Drake. Marriage Story is on my watch list and I think that the film will be top 10 of the year quality. As for Midsommar i’m gonna see it. I remember i wanted to watch it back in summer and then something happened and I didn’t catch it. I’m very hyped again, I’ll try to watch it tonight and let you know.
@Cinephile– impressive year and lots to see still. I’m anxious to see Baumbach’s Marriage Story, too. He’s not Tarantino or Scorsese but Baumbach is sort of like James Gray– been making great films– often falling in their respective years’ top 10– for a long time.
Let me know when you get to see Midsommar. I have it right there with the best I’ve seen so far in 2019.
@Drake. I haven’t seen Midsommar but I hope to see it soon because I liked Hereditary and I think that Ari Aster as a director has a lot of potential to make a Horror masterpiece in the years to come. And of course… Ad Astra, I completely forgot it, very very good film indeed and a strong tear for Brad Pitt.
All of the films mentioned are very strong indeed but I think the two masterpieces of the year and my #1 and #2 are The Irishman and Once Upon a Time in Hollywood respectively, after all Scorsese and Tarantino are top tier directors.
A very strong movie indeed. Surely one of the best of 2019 along with Joker, The Lighthouse, Once Upon a Time in Hollywood, Pain and Glory was very good too and of course The Irishman.
@Cinephile… Happy to hear we’re on the same page here. I’m very excited for The Irishman and Pain and Glory. Did you catch Midsommar and Ad Astra? I’d add them to your list of best films (which I agree with completely out of the ones I’ve seen).
But what a comeback year for Cannes. The Lighthouse, Once Upon a Time in Hollywood and Parasite.
Here were my notes from a very recent viewing of the film. Probably viewing #4
If I had to teach a class on film form using a 21st century film this would be one of the first films I’d get to. ITMFL is obviously the crown jewel, and then some PTA comes next, but Parasite is right there in the next tier of films after that
There’s just so much to go into formally — I don’t have the time to do so right now. Drake does cover a lot of it (I will try not to repeat too much of what he says so go check out his review) — and some comments on the site by James fills more holes, but there’s even more beyond that
The way Joon Ho(e) builds up and juxtaposes the two families/houses visually is what’s probably the most impressive aspect formally. Yes – it’s the set pieces themselves (compare the clean, wide-open, minimalist architecture of the Park’s mansion to the Kim’s claustrophobic, cluttered, disgusting apartment) — and even where the set pieces reside geographically in the city (the Kim’s apartment is literally at the bottom of the city, and even half-sunken below street level while the Park’s house is literally at the physical top of the city) — but it’s also the way that Joon Ho chooses to shoot the two houses relative to each other that impresses me so much. My favorite example is probably in the living room “view” that each house has, these two families could not be living farther apart and Joon Ho shows us that compositionally
Pause on what I said about – the bookends may have something to say on the most impressive formal aspect of the film. The film starts and ends with these stunning shots out of the Kim’s living room window, with sock chandleries. In the first shot it is bright, sunny, and even though the family is struggling economically, they are still alive and together. In the last shot it is now cold, desolate, snowing and the Choi Woo-shik character is all alone. Really the entire last 15 minutes of this film does the Call Me By Your Name ‘winter epilogue’ thing here to incredible effect
There’s repeated form of impressive wide shots in the Park’s house with characters constantly spying on each other. Joon Ho uses the full frame, and walls/angles to hide characters from each other. Compare that to to the Kim’s house where there is essentially no possibility of eavesdropping or sneaking; the Park’s house is such a massive-labyrinth that you literally can have people secretly living there for 4+ years and never know
Really the way Ho shoots the Park’s house is nothing short of brilliant. Such handsome, clean mis-en-scene. Symmetry and exactism always in his compositions and in the way he moves the camera. There’s dozens just from the interior of this house that impress
The film really, kind of abrasively shifts genres atleast twice. The first 40%~ of the film (right before the housemaid comes back) is a pretty funny, light-social satire), then the housemaid returns and we pivot into a very dark thriller territory, and then the last 20-25 minutes as the basement dweller emerges at the birthday party we finally pivot into a sort of full-on horror-tragedy. Despite this, I think this is one of the most expertly paced films of the decade… how it is even possible to so drastically shift tone and (like I said, really) genres and it not only not feel disjointed, but it to never lose its propulsion, I don’t know. It’s an immense feat of editing
The overhead shot is brought at 3 (by my count) big, pivotal moments: you have the first moment during the (humiliating) sex scene on the couch where the Kim’s (and particularly the father’s) opinion of the Park family completely flips on its head, the second one is at the end of the flooding sequence (and is an absolutely stunning shot) and then the last one is as Song Kang-Ho’s father character flees the backyard after committing the murder
There is a montage at the end of the (if you really wanted to call it that) “first half” of the film that is immensely impressive filmmaking. The infiltration of the Park family was very meticulously built up until this point, but this montage just glides us into the next step of the story by covering so much information in such a short amount of time
Such narrative economy. The “chimpanzee” painting is just the man in the basement; the lights only flickering in step with the father (something you would have only picked up on if you were truly dissecting the film) is explained later. The Morse code and Boy Scouts comes back. Native Americans inserted as a symbol of oppression like Kubrick does in The Shining
Narrative form with “planning” being shown and blatantly-stated to be useless and always bound to fail . So when we come back at the end of the film and the Choi Wook character is writing to his dad that he has a “plan” to get rich and buy the house, we as the viewer know to take this fantasy as totally unachievable day-dreaming (and the Kang Ho character will know that as soon as (if) he reads the letter – which is even more heartbreaking). There’s no serious reading of the film where someone can walk away thinking that this fantasy is going to happen
Kang-Ho’s character sort of allegorically “trapping” the poor in this loop of reliance on the rich by living secretly in this parasitical-basement is just superb
So much more intelligent and honest than typical “rich people suck aha!” satires. Both the rich and poor are parasites of each other. And the poor families turn on each other immediately when the context changes
There’s an interesting aspect of the ‘basement dweller’ character sort of worshipping Mr. Park. He leaches off of Mr. Park, yet Mr. Park doesn’t even know who he is or how he’s important to him
There is a very strong oner during the basement reveal that really elevates the intensity of that moment (what a moment)
There’s actually some strong Bergman like face framing periodically when characters lay down next to each other on beds/couches (one characters face is often a little out of focus). I like one shot in particular at the gym post-the flood
There’s repeated form of impressive wide shots in the Park’s house with characters constantly spying on each other. Joon Ho uses the full frame, and walls/angles to hide characters from each other. Compare that to to the Kim’s house where there is essentially no possibility of eavesdropping or sneaking; the Park’s house is such a massive-labyrinth that you literally can have people secretly living there for 4+ years and never know
It’s certainly not as photographically potent as 3 other 2019 films (Midsommar, About Endlessness, or Vitalina Varela) but there are still 50+ very impresive compositions here
Probably my favorite pure narrative of 2010s. It’s so rich, so layered, I could write for hours on end about it. It’s not shock why this film got the reception it got — it’s one of the young centuries greatest narrative and scripts for sure. In that regard, it’s earned its seat at the table with which most people put it (#14 or 15 all time on Letterboxd iirc)
I have “Slashed wires” written down as a note but I’m not entirely sure what I was meaning there. There is a shot as the Kim’s return home during the flood (an immensely accomplished sequence in photography and architecture as character followed by the Park family receiving the rain in the complete opposite way) where there’s a huge amount of jumbled wires that result in one of the best compositions of the film. Maybe that’s what I was referring to
The shot of the “ghost” on the stairs is seriously as scary as any shot in any horror film maybe ever and his character crawling up the stairs toward the camera reminds of when Gollum/Smeagle’s mid-transformation form crawls toward the character in the Two Towers flashback (bet you weren’t expecting to read that comparison)
Flawless performances all around, I don’t have a nitpick. Song Kang Ho is Korea’s greatest actor and the obvious standout (the moment he tried to connect with Mr. Park at the bday party and Mr. Park brushes him off is brutal — Kang Ho’s face is so weathered by this point (post-flood). But I enjoy the work of every other lead in the film and I think Park So-dam, Cho Yeo-jeong and Choi-Woo Shik are not very far off from sliding into the best of the year category
The goat film of YouTube comment section analysis. Everyone for a PHD in art criticism when it comes to Parasite somehow
Such a big achievement. Joon Ho(e)’s best achievement to date — and I have Memories of Murder as a MP. A sure-fire Masterpiece and my pick for the best film of 2019 (one of the great years in all of cinema)
@Matthew – wonderful write up, I love this movie so much. I think it has a case for top 5 screenplay of the decade.
“There’s an interesting aspect of the ‘basement dweller’ character sort of worshipping Mr. Park. He leaches off of Mr. Park, yet Mr. Park doesn’t even know who he is or how he’s important to him”
Great point. Another aspect of form related to the plot is the way it uses smell as the trigger that leads to Mr. Kim stabbing Mr. Park to death. It is set up earlier in the film when Mr. Park makes a comment to Mrs. Park about the way Mr. Kim smells. After everything Mr. Kim and his family went through in the days leading about the birthday party, it is something as seemingly minor as a man pinching his nose that sets of his suppressed anger
@James Trapp — agreed there on it being in contention for top 5. What would your top 5 look like? My list would start with The Master at 1 and The Social Network at 2. After that I would really need to do some reevaluating to confidently fill out my top 5 but the immediate screenplays that leap to mind are: Parasite, First Reformed, Birdman, Inside Llewlyn Davis, OUATIH, The Irishman, and True Detective. Maybe Shame as well but it’s been so long since I’ve seen that one
@Matthew – Those are great picks, I do not have an exact list but in addition to the films you listed, a few more I would add as amongst the best: The Handmaiden (2016), Grand Budapest (2014), Get Out (2017), Nightcrawler (2014), Manchester by the Sea (2016), BlacKkKlansman (2018), Burning (2018)
“ feels like it is at least a Must-See film– perhaps a MS/MP or even a MP with a third viewing”
Have you gotten to that third viewing yet? What’s the current grade? I plan on getting to this again soon. Would be my first viewing of the film in atleast 3 years and I’m a significantly better evaluator now than I was then
@Matthew- I have not had that third viewing yet.
Parasite (2019)
This is viewing number 5 or 6 but the first time I decided to take notes
Bong goes with a 2.39 : 1 aspect ratio in all its glory, definitely worth watching this on as big a screen as possible
6:15 the Kim family celebrates with beers the small things like the “boundless Wi-Fi” haha
Brilliant that Kim family literally lives below ground level
12:20 “so you’ve got a plan” this point is repeated throughout the film
12:50 shot of Kim Ki-woo literally walking uphill toward his meeting with the Park family
20:27 **
21:01 **
46:36 **
1:19:05 **
** One of the revelations watching this again is there are so many shots of characters talking to or looking at each other literally on different levels; whether it is staircases, steps, hills, etc. there are so many shots indicating the characters are not all on the same level playing field so to speak. This is something I certainly noticed previously, but it is constantly reinforced throughout the film to the point where it is almost impossible to include every instance in these notes unless that is all you do
53:17 the Kim family again toasts and drink beers now having all secured full-time jobs
56:00 and 57:08 and 1:00:53 great use of glass door as a frame for shot of the Parks of the huge backyard
1:03:17 great composition with Kim family’s party interrupted by old housekeeper ringing doorbell
Bong’s ability to shift tones is at Masterful level and is also unique. The 2nd half of the film reaches Hitchcockian levels of suspense as there essentially become 3 relevant parties; the Kim Family, the Park Family, and the old housekeeper and her husband
92 min mark the Kim Family makes their escape from the Park Mansion and returns home, almost the entire journey back we view them running literally downhill, downstairs, etc. There is a brilliant frame at 1:35:04 that I had not noticed during prior viewings it is during the return to the Kim house at night the streetlights give the frame an orange almost even sepia color
The ending was brilliant with Mr. Kim now in the cellar
There was so much hype when this was first released that before this most recent viewing, I was concerned that I might end of dialing back the praise ever so slightly. I am pleased to say that this did not happen. This is just as great as I thought
Verdict: Masterpiece
@James Trapp- Great work here- viewing #5 or #6? Whoa!
@Drake – yes, as you note this is a film that rewards multiple viewings, I am excited to revisit some other Bong films like The Host (2006) and Mother (2009)
Where does this rank for you now?
@Christopher- Thanks for the comment. Not exactly sure yet, I’m both excited to get back to the 2019 list and sort of dreading it as there are so many brilliant films from that one year.
Why are my comments not published?
I have commented in at least 3 publications and it does not appear 🙁
@Aldo- sorry- they should be there now!
Excellent. You love to see it.
@Matt Harris— yeah the bookends walloped me. Especially pairing the shot before the final shot. Also, the entire flood sequence and brilliance of it escaped me the first time around. I mean i noticed it obviously, but not the genius behind it.
I am very interested to hear why you think there is so much discrepancy between the critics and you, most have it in the one (including metacritic)
I had it in one but it has been changing, if i had not seen your top in which Midsommar was # 1 i would never have seen it, i am grateful.
I still think The Irishman is the best movie of 2019
1.The Irishman
2.Once Upon A Time
3.Midsommar
4.Parasite
5.Ad Astra
Finally, where would you put Parasite?
@Aldo— I mean I think the social message is the easy answer. That means more to critics and the academy than it does to me in terms of a work of art. It isn’t something that really factors in for me. I care about how it’s executed visually and stylistically (and I picked up more on that with a second viewing which is why I’m moving it up).
I’m not sure yet where I’d put Parasite. Sorry. I just saw it and want to give it a little. 2019 was an incredible year. Once Upon a Time, and The Irishman are spectacular as well.
You really made my day….. this is truly a “I changed my opinion” situation, haha. I’m really excited about your updated best of the year lists. I know it’s not good because a film needs time in our minds, but would Parasite make your top 5 of 2019 ? I mean from #11 to top 5 is a pretty huge jump and that’ll launch it in the best of the decade list also, I think you have it #67 but with your reassessment here it could easily jump to top 40.
@Cinephile– I’m really not sure. Both 1917 and Marriage Story are really strong films but I’ve only seen them once. Ad Astra, too. I’m just not ready to do it yet. I’m sorry- I know that’s not what you’re looking for. I do think this is more evidence of how special 2019 is. I truly believe it’ll be one of those years we may look back on like 1999 or 2007. Bong, Baumbach, Gray doing career-best work…. truly incredible work from already-legends like Scorsese, Tarantino— and then you add the up and comers — wow.
@Cinephile. Happy to hear it on Midsommar!!! I have a page for it here from the summer with all of my ramblings here https://thecinemaarchives.com/2019/07/08/midsommar-2019-aster/ . I’m very excited about Aster and Robert Eggers. They’re not alone– there are other talented young auteurs— but I think they’re important for the future of cinema. For me, this is back to back years with Aster making a top 10 film. That’s remarkable.
@Drake. I saw Midsommar and I have to say it was excellent, better than Hereditary for me and I loved that the film although horror had that colorful atmosphere. I liked Hereditary too but I wasn’t impressed, my main problem was the ending but of course a good film in the end. So another wonderful film for 2019.
@Drake. Marriage Story is on my watch list and I think that the film will be top 10 of the year quality. As for Midsommar i’m gonna see it. I remember i wanted to watch it back in summer and then something happened and I didn’t catch it. I’m very hyped again, I’ll try to watch it tonight and let you know.
Excuse me, a strong *YEAR for Brad Pitt, not tear hahahaha.
@Cinephile– impressive year and lots to see still. I’m anxious to see Baumbach’s Marriage Story, too. He’s not Tarantino or Scorsese but Baumbach is sort of like James Gray– been making great films– often falling in their respective years’ top 10– for a long time.
Let me know when you get to see Midsommar. I have it right there with the best I’ve seen so far in 2019.
@Drake. I haven’t seen Midsommar but I hope to see it soon because I liked Hereditary and I think that Ari Aster as a director has a lot of potential to make a Horror masterpiece in the years to come. And of course… Ad Astra, I completely forgot it, very very good film indeed and a strong tear for Brad Pitt.
All of the films mentioned are very strong indeed but I think the two masterpieces of the year and my #1 and #2 are The Irishman and Once Upon a Time in Hollywood respectively, after all Scorsese and Tarantino are top tier directors.
A very strong movie indeed. Surely one of the best of 2019 along with Joker, The Lighthouse, Once Upon a Time in Hollywood, Pain and Glory was very good too and of course The Irishman.
@Cinephile… Happy to hear we’re on the same page here. I’m very excited for The Irishman and Pain and Glory. Did you catch Midsommar and Ad Astra? I’d add them to your list of best films (which I agree with completely out of the ones I’ve seen).
But what a comeback year for Cannes. The Lighthouse, Once Upon a Time in Hollywood and Parasite.