寄生虫 是奉俊昊导演和编剧于2019年上映的讽刺电影吗. The film depicts a poor family living in a basement flat who gradually find work by exploiting an unwitting rich family. 这部电影由宋康昊主演, 崔Woo-shik, 李Sun-kyun, 曹Yeo-jeong, 公园So-dam, 李贞恩和张惠珍. The film gained international recognition by becoming the first Korean film to win the Palme d'Or at the Cannes Film Festival and later the first foreign language film to win Best Picture at the 奥斯卡颁奖典礼. 被评论家誉为2019年最佳电影之一, 这部电影在全球获得了超过2.58亿美元的票房. 一部电视衍生剧正在制作中，电影中出现的一道菜也开始流行起来, 寄生虫 成为有史以来最成功的韩国电影之一.
金氏一家住在肮脏的地下室, 靠着微薄的工资折叠披萨盒，四处搜刮度日, 甚至使用当地企业的免费无线网络. 大儿子基宇和他的朋友见面, 大学生Min-hyuk, 谁会希望基宇在富裕的朴家做家教呢, 教女儿多惠英语. 他还送给基宇一块传统上象征财富的学者石. 决心充分利用这次机会, 基宇决定接受报价，很快迷住他的方式进入时尚的公园住宅.
与朴槿惠的女家长崔妍教成为朋友, 基宇了解到她的儿子是艺术天赋，但麻烦和需要一个新的艺术导师. 他发现了一个机会让他妹妹在帕克家再谋个职位, the two of them conspire with their parents to get the entire Kim family jobs with the Park family without letting on that they are exploiting their wealthy employers. Everything goes smoothly when the Parks depart for a camping trip until one stormy night when the Park's former housekeeper 人的蔑称Moon-gwang unexpectedly returns to the property while the Kims are enjoying themselves, 说她有东西落在地下室了...
第一次看韩国电影时，我不知道该期待什么, 可能是极端的 卑劣的 或者恐怖主题的 主机. 然而, I was pleasantly surprised to find this a slow-burning thriller that serves as a parable about the dangers of greed, 社会不平等和阶级分化. 这本书的叙述和结构都非常出色, 当事情开始变得不妙时，在发出两种冲击中的一种之前，感觉节奏良好，有凝聚力. 气氛是一种呆板的喜剧和不断增加的紧张程度的混合，贯穿始终, 这是导演对阿尔弗雷德·希区柯克(Alfred Hitchcock)作品的众多赞许之一. The language barrier may put some viewers off (I personally have no issue with subtitles but some of you do) but patient viewers will be well rewarded - and slightly blindsided by the genuinely alarming climax.
演员们在赋予角色生命方面做得非常好, making the Kim family feel less like the criminals they are and the Park family less deserving of our sympathy. I especially enjoyed 曹Yeo-jeong as the naive mother falling for every one of the Kim's lies and 崔Woo-shik as the well-meaning but lazy instigator of the film's events. 什么电影做得最好, 然而, is point out the existing discrepancies within Korean society between the wealthy and the poor (discrepancies that I imagine most viewers will understand in their own countries) and the lengths that good people will go to just to survive. 金氏家族绝不是“坏人”，而富裕的帕克斯家族则被视为懒惰, 不称职的, 无知和自命不凡的. But neither family comes out of the film smelling of roses and the film certainly doesn't condone the actions of the Kims, 在最后的悲剧性场景中，一些显而易见的痛苦.
- 公园的房子, 显然是由一位著名建筑师设计的, 是根据奉俊昊自己的一些草图建造的. 电影的制作设计师咨询了一位真正的建筑师, 他们驳回了这些草图，说没有白痴会用这种荒谬的方式建造房子.
- 学者石在东亚有着悠久的历史，被称为景观石或水石. 奉俊昊's father collected them when the director was younger and they were historically found on the writing tables of Confucian scholars, 因此他们的英文名.
- A black-and-white version of the film was later released for screenings at film festivals and art-house theatres in the US. Bong hoped that the lack of colour in the film would help further illustrate the differences between the houses of the rich and poor families.
- The film's title actually has a double meaning: the Kims are obviously parasites by attempting to live off the success of the richer Park family but the Parks are also parasites as they are devoid of certain skills such as driving or housework and so therefore need others to do this for them.
The film's sudden tonal shift halfway through seemingly comes out of nowhere and takes things of a very different path than the one you might expect. 在一个场景中, everything takes on a different emphasis and things you hadn't noticed before like flickering lights or the young boy's disturbing artwork suddenly take on much greater significance. 这些场景更像是我所期待的那种坚韧不拔的电影制作, 我之前说过, 我对韩国电影的经验不足可能在这方面阻碍了我. 从我的角度来看, I felt as though the carpet had been suddenly removed from beneath my feet and it took the family in a direction I genuinely didn't see coming. 简而言之, it felt like it was too left-field to be plausible and the film ventured more into parable than social commentary.
但事实上, I didn't mind this jolt in the storytelling as it kept my interest and heightened the tension even further. 结局有点莎士比亚的味道, 悲剧和讽刺交织在一起，但也有一点不令人满意. 不管, the film deserves to be held up as a fine introduction to Korean cinema in general and the work of 奉俊昊 in particular, 一个在国内外迅速发展成为真正有才华的电影人的导演. 它不仅是一部伟大的韩国电影，而且是一部伟大的电影. The language and setting are almost irrelevant as the film is told in such a way that we understand the culture and setting implicitly.
很少有人会想到, 寄生虫 to achieve the success it has but you can't deny that the film is worthy of breaking some of cinema's glass ceilings. 写得很好, 由一位才华横溢的电影制作人表演和拍摄, 创作一部对富人和穷人都有警示作用的电影. Don't be put off by the language or setting as the film manages to work on a universal level and hopefully puts many other Korean filmmakers into the spotlight in the years to come.
不太适合: 外语片的愤世嫉俗者(他们错过了, 如果我诚实的), 容易吓坏了, 经济极端
自从 卑劣的 2003年蜚声国际, 韩国娱乐变得越来越受欢迎——无论是他们的电影, 电视节目像 鱿鱼的游戏 或者像防弹少年团这样的K-pop乐队. Park Chan-wook's adaptation of the Japanese manga of the same name brought global attention to Korean cinema with its visceral tale of a man kept in solitary confinement for fifteen years suddenly released and seeking both answers and revenge for those who held him captive. 启发斯派克·李的翻拍 卑劣的 2013年(没有被评论家接受), 这部电影是朴槿惠《PG电子游戏平台》三部曲的中间部分, 夹在2002年 对复仇先生的同情 和2005年的 金子.
奉俊昊早期凭借怪物电影取得了成功 主机 以及他的英文科幻电影 Snowpiercer巧合的是，它也是根据一部漫画小说改编的. 这仍然是有史以来最昂贵的韩国电影之一， Snowpiercer depicts a class struggle within the remains of society on board a train travelling across a snow-covered world. 在写这篇文章的时候, he is working on a number of future projects including a rumoured animated film but whichever way his career goes, 奉俊昊可以把我当作他的粉丝之一.
Bong Joo-ho & 韩进得了