The film was shot in a semi- cinéma vérité style and features interviews with the author and cast spliced in between scenes. The appeal of the film to a global audience is its darkly comic exploration of the universal gap between the haves and have-nots.Lies ( 거짓말, Gojitmal) is a South Korean erotic drama film adapted from the banned novel Tell me a Lie by Jang Jung Il, which depicts a sadomasochistic sexual relationship between a 38-year-old sculptor and an 18-year-old highschool student. In the film’s final scene the son fantasises he has worked to become rich, but viewers are soon returned to the reality of the despair and empty futures of society’s underclass. Their best option is to be parasites upon the rich, imaged by the father creeping out of the bunker to steal food when he thinks the house is empty. When the Kims’ father, Ki-taek, finds refuge in the bunker, Bong confirms this space as a metaphor for the gap between rich and poor and the lack of any prospect for the poor to move upward in society. The house is so large its owners are unaware there is a bunker deep beneath it. The gap between rich and poor is visually and metaphorically expressed in the contrast between the Kims’ semi-basement hovel and the Parks’ architect-built, luxurious house located high on a hillside. Parasite involves a familiar contrast between two families who inhabit extreme social echelons – the poor Kim family and the rich Park family.īong’s interest in ideas is complemented by his penchant for metaphor. In Parasite, Bong explores serious issues through a blend of tense drama with dark comedy.
A string of trans-genre films followed, each of which uses the apparent forms of various genres for different purposes: My Sassy Girl (Kwak Jae-yong, 2001) is an off-beat romance which embeds parodies of samurai film, sci-fi and tragic love story Welcome to Dongmakgol (Park Kwang-hyun, 2005) smashes together war film, rural idyll, comedy and heroic tragedy and Bong’s own The Host.
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