The world must be ending because Hulu is finally a decent streaming service: first Portrait of a Lady on Fire, now Parasite (and they just added Detective Pikachu now that HBO is free for the rest of the quarantine, aka for a year at least)?

I was first introduced to Bong Joon-ho with his icy thriller Snowpiercer (2013) and to this day it remains to be one of my least favorite movies. I was, notably, a lot younger when I watched it but seeing even one clip of it still puts a bad taste in my mouth. It’s unique and makes great commentary, as most of his films do, on class divisions and does it in a stunning visual way. While some disturbing films are entrancing and keep me at the edge of my seat, I found myself wanting to look away or always had a “is it over yet?” mentality while watching Snowpiercer. Years later, I watched Okja (2017) and I absolutely adored it. As a vegetarian 4-years in, I found the visceral comedy/drama of Okja to be a pro-animal/pro-veggie film without beating you over the head with it: rather, it’s focused on the story and shows negative sides of the meat industry as well as the activist environment. We’re meant to root for the little girl and her big pig, not either of the “systems” attempting to control them. Then, in my horror class last semester, we watched The Host (2006), which also melded comedy and drama with horror and psychological thrill.

If it’s a Bong Joon-ho film, it has to be weirdly funny in a lot of ways but also horrifying in a way that you aren’t expecting. The Parasite (2019) is unexpected in its horror: it’s more of a drama and comedy with elements of horror. Like a frog slowly cooking in a pot, you stew in the easy, relaxed atmosphere of two families separated by class and the methods they employ to survive. Halfway through, you’re still thinking, “Is this really a Bong Joon-ho film? Where’s the terrifying monster, giant made-up animal, or society-driven gross-out factor?”

Like any Joon-ho film, the visuals are exquisite. The stark cleanliness and bright whites and blues of the Park family compared to the run-down, basement apartment in muted yellows and browns of the Kim family are mesmerizing. You’re lulled into a false sense of safety, and to avoid as many spoilers as possible, I’ll stop there. I’ll quote Joon-ho himself, when he accepted Best Director at the Golden Globes: “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.” 

The Parasite (2019) 

sniff me, i dare you

climb up the stairs

on your knees 

trailing blood 

and chunks of cake

the icing still stuck

sickly sweet

in the tangled hair

of this nuclear 

family; disaster

and diamonds

should be next
to each other

in every dictionary

we break skulls 

and bathe in peach

wine, sirloin steak 

between your toes, 

just to get a taste

of that delicate madness;

capitalist breath

on your neck.

honey im home

give me a kiss

and i promise 

to use the soft end

of the knife