Perfection exists often in pure simplicity…

There’s something magical in the gloriously bent cinematic glow that is Parasite as it manages something truly disturbing yet has us rooting for it all by the end.

It’s the tale of two families; the Park’s: the picture of aspirational wealth, and the Kim’s, rich in street smarts but not much else.   In a moment of happenstance or fate, these two houses are brought together by the Kim children who expediently install themselves as tutor and art therapist, to the Parks.  Soon, a symbiotic relationship forms between the two families; The Kim’s provide “indispensable” services while the Parks obliviously bankroll their lives. However when an outside force intercedes, the fragility of this relationship threatens to come crashing down.

Parasite is essentially the ‘Itsy Bitsy Spider’ nursery rhyme ramped up in the most gloriously twisted way possible and could easily the pinnacle in a career of films from director Bong Joon-Ho.

Joon-Ho keeps it all simple and viciously insidious as he takes us into this world.  With its clean and powerful visuals in concert with a strong performance from the ensemble led by the indomitable Sang Kong-Ho we get lost in this beautifully crazy yet socially poignant story about class.

Parasite builds a really simple yet fascinating study on class study, economic inequity and the levels people will go to in order to hold on it all.  It baths itself in humour, tension and desperation which makes for a rare and glorious mix of cinema.