Taking advantage of the list of Oscar nominees, our collaborator Juliana Negri made this very nice text about the South Korean film “Parasita”.
Juliana is an entertainment professional, graduated in journalism, works as a producer and professor in the area of communication for music and show business, addicted to series, films and documentaries, card nerd, Spock, Iron Maiden fan and book eater . Check it out and enjoy the reading:
This week, after the six Oscar nominations, “Parasita” gained even more prominence among viewers who love to marathon the nominated films. The film caught my attention by winning the category of best foreign film at the Golden Globes.
The work of South Korean director Bong Joon-Ho tells the story of the Ki-taek family, living in a period of extreme crisis, with unemployment and very few resources, living in an unusual location, and the Park family, who live in luxury, in spoiled employees and children. Bong draws a series of parallels between these two sides, which mix in an unusual way, when one of the Ki-taek gets a job at the Park house as a private English teacher for his eldest daughter.
“Parasita” can be thought of as a tragicomedy with touches of suspense, which make the spectator hold their breath at some times, laugh at others and be touched by the harsh reality of Ki-taek. They survive from their little blows and beaks, and when their firstborn joins the Park staff, everyone sees the chance of the big blow that can change their lives and improve their economic situation. And the spectator's laughter turns into depression and sadness with the evolution of the film, which also harshly criticizes capitalism and subtle prejudices in the coexistence between two extreme classes.
Joon-ho Bong consegue manipular a audiência com suas locações absolutamente opostas: a casa dos Park, aberta, cheia de luz e espaços vazios e decoração limpa contrasta com a moradia claustrofóbica dos Ki-taek – um porão sujo e quente abaixo do nível da rua, na periferia da capital sul-coreana, em uma rua frequentada por tipos como o bêbado recorrente e todo o lixo depositado na porta. São várias as cenas que passeiam pelas mudanças de paisagens de Seul, trazendo consigo as viradas da narrativa. Essa escolha traz à tona a síntese de todos os paralelismos propostos por Bong: o sobe-desce ao longo do filme mostra uma gangorra da luta de classes, recheado de pequenas sutilezas e grandes exageros
On the other hand, the Brazilian viewer in particular may feel a certain greater adherence to the ideas of Joon-ho Bong, since the “Brazilian way” and the “way” of the Ki-taek present almost glaring similarities, while the prejudices The veiled ones of the Park are broadly similar to the reservations of Brazilian higher classes in relation to the “differentiated people”. Perhaps that is why in the country the film is also so successful: it is a series of messages with which we are already familiar.
A trilha sonora ajuda – e muito – a posicionar a narrativa e personagens. Duas músicas em italiano merecem destaque “In Ginnochio Da Te” e “Rodelinda: Act 2 – Spietati, io vi glurai” dão os contornos de comédia e esperança, enquanto o restante da trilha original, assinada por Jung Jaeli, trazem todo o peso do crescente drama e seus toques de thriller incorporados por Bong ao longo da história.
“Parasita” does not play with the viewer and does not have any pranks, but promotes a constant reflection of the concepts of honesty, prejudice, class struggle, fears, contempt, empathy and ambition. It is the obvious without being obvious, which is difficult to translate into a feature film of just over two hours. You start laughing and end with a mixture of crying with a punch in the stomach. Each of the Academy's six nominations is worth it!
Source/ https://www.cinemaemserie.com.br/filmes/resenha-parasita/