Parasite Movie 2019 | Review | Cast | Oscar - Fact Industries

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Wednesday, May 6, 2020

Parasite Movie 2019 | Review | Cast | Oscar

Parasite movie that hit the massive impact in world theaters in 2020 great movie of the decade. Parasite directed by Bong Hong-ho the movie released 31 January 2020.
Parasite is a Korean movie, the film won 4 different academy awards 2020 which is the film receive appreciation all over the world.Now you can watch parasite movie on Amazon Prime, Parasite available on Amazon Prime.
Parasite-Movie-2019-Review-Cast-Oscar

Parasite (2019 Cast)

  • Song Kang Ho
  • Lee Sun Kyun
  • Cho Yeo Jeong
  • Choi Woo Shik
  • Park So Dam
  • Lee Jung Eun
  • Chang Hyae Jin
  • Park Myeong Hoon
  • Jung Ziso
  • Jung Hyeon Jun
  • Park Keun Rok

Movie Plot

#1 Parasite Beginning Story

Bong Joon-ho's tour de force black comedy thriller Parasitism can be carefully examined as a result of rising class tensions in modern society. Through this film, Bong demonstrates his mastery of oral and visual stories. Delicate transitions, sarcastic dialogues and morally ambiguous characters together make it one of the most moving films of the decade. The film focuses on a particularly poor family who really on deception and manipulation to survive in their harsh society. The narrative begins when son Ki-woo offers the tuition to the rich Park family daughter.

Because of Parks' credible and bad offers, Ki-woo and his family are able to cheat effectively to get service work done at home. However, after the family found out that they were not the only people to leave the park. Reminiscent of Hitchcock's long and enigmatic scene, the former homeowner of Parks is found harassing her husband in an unknown bunker under the house. Torture and coercion of their borrowers. This scene marks a big change in tone and reveals the meaning behind the film's title. After a long and miserable night, the poor family inevitably kills the former homeowner in front of her helpless husband and searches only his semi-cellar to run home. And tedious.

It stumbles through subtle moments and interactions. Through these scenes we shine a new clarity that the family now sees itself. At first glance this title refers to the way in which members of the parasitic lower class have moved away from good manners and er. In the Park family. But what Bong is trying to tell us in those moments is that the lower class people are living comfortably, they are living comfortably with their labor. The film presents us with a frightening but important question: Who are the parasites of late capitalist society? The difficulty in answering this question can be explained by two concepts derived from the School of Cultural Studies: Silent Capitalism and Cultural Dominance. In the coolness of capitalism, Jim McGuigan says, "neoliberal capitalism has created the popular legitimacy of such flexibility. It goes beyond the ideology of management and into the spirit and propaganda of everyday life. Embedded in civilization We are blind to the true motivation of the company.In their outsourced employees.

#2 Slowly Disclosure Of Suspense 

This indifference to St. Poverty and the exploitation of others by consumers is what McGuin calls silent capitalism. To understand how quietly capitalism moves in the parasite, let’s look at the second action scenario. The husband of a former homeowner who had been hiding in the bunker for four years, he maintained his sanctity by light switching to light up Mr. En route to the park, walking up the stairs at night. Mr. Park, unaware of the bunker beneath his home, says that these motion-sensor lights are a marvel of modern technology, which distils McGuigan's view that Mr. Park is too blind to these luxuries he enjoys under his leadership. Under it, one's standard of living is borne by one's hard life. It is no coincidence that housekeepers physically live under husband parks.

This ignorance of others is sometimes bounded by indifference to the suffering and suffering of others, as is evident in the paroxysm of poor families. Ki-Tek, for example, told a friend on the phone to drive Mrs. Park home from grocery shopping, completely ignoring the fact that thousands of people from the city were homeless in the disguise the night before the storm. -stare. Another example of this ignorance is how the Park family demonstrates its physical opposition to the smell of a poor family.

This theme is prevalent throughout the film as their reactions to the smell become more exaggerated. In sanctity and danger, Mary Douglas suggests that hygiene and hygiene are social constructs. “There is no such thing as an absolute impurity that is only in the eye of the beholder,” she explains. We see in the parasite that Parks' rebellion on the smell of persons is a rebellion of those who think they are inferior. When Mr. Park afflicts them, they seek to flee these odors from their garden party scene, signaling to the viewer that those who benefit from capitalism are both metaphorical and physical. In an interview with GQ, Bong said, "What Parks really want and this is what Mr. Park says is that in this film they draw a line on their sophisticated world and they don't let it pass. They want to push everyone out of the line and they want to be safe behind it. Poverty is a frightening reminder to parks that its smell victim is actually nearby.

It reminds the parks that the drowrow is really close. Although the gardens are well-intention and kind people, they are not aware of the extreme poverty around them because they are comfortable with the cost of living at the expense of the poor. They lose their sense of smell for fear of realism outside of their own unique bubble of heavenly capitalism, and the growing divide between rich and poor Antonio Village science can be sustained by "cultural domination" in our contemporary world. For Gramsci, cultural domination "is achieved by instigating the consent of the majority of subordinates or subordinate groups in a given social-linguistic-political bloc." Throughout the film, Mr. Park talks about a line between himself and his staff. This line accurately reflects the professionalism that Mr. Park expects of his staff, but it also represents a branch he has established to maintain his position as a superior.

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#3 The Deep Meaning Scenes Of Parasite

Mr. Park expresses his satisfaction with the former housekeeper as he never crosses the boundaries of his house, but on the other hand, Ki-tek is always teetering on the edge of the line. In this sense, the former homeowner accepts his status as a subordinate, eventually killing Mr. Park against the oppressive ki-tak of his class and the dominant social system that resides there. Growing awareness increases. Poor characters have deep feelings of admiration and respect for the Park family. For example, in the same scene, every member of the poor family, regardless of themselves, discusses what they like about the parks.

This admiration runs deeper with the husband of the homeowner, the head who shook his head as he rescued her from cultural domination, and a man who favors the ideology of the ruling classes. The dominant worldview is that the dominant culture aspires to do something.
Parasite-Movie-2019-Review-Cast-Oscar

This can take many forms: the current standard of Eurocentric beauty is that women around the world have had to change their appearance in an attempt to achieve this common sense. Democracy is such a fair and just society. The dominant criterion for countries now depends on how democratic they are. And the list goes on. In the case of late capitalism, the ruling class has changed their proposals to fit the mold of wealthy and parasitic Ki-woo and his family. They become economical and social. As we hid in the bunker after killing Mr. Park, he reunites with his family, and now Bong, who has earned enough money to buy Park's house, is a happy ending for the audience. However, this moment of happiness dissolves as it is revealed that this scene is merely the wish that Ki-woo wrote in his letter to his father.

#4 The Dark Ending

Bong revealed in an interview that Ki-woo takes five hundred and sixty-four years to save enough money to buy a house. This directly contradicts the mantra of contemporary capitalism, which sought to persuade the public that it would achieve a higher economic status with little effort and determination. The reality is that through cultural hegemony, they create the illusion of social consciousness that they are able to become rich by building public consensus.
Ironically, the poor daughter, Ki-jyoung, is considered the only member of the family suited to the affluent climate, but also the only member of the slain family. When all is said and done, the wealthy family will not be afraid of their condition, but the poor family will be caught up in it. Neoliberal capitalism takes financial responsibility from the government and delegates it to free-market institutions and private individuals.

In this type of society, your worth as an individual depends on your ability to sell your labor. The huge disparity in wealth is what allows the rich and the poor to give up on the free market game as winners. We see it here as a hostile architecture that emphasizes the needs and aesthetics of corporate organizations over the needs of the hungry and the homeless. These protection strategies become mechanisms to hide indigestion, for fear that it will disturb the great social system. The great downfall of this system is that everyone starts with equal access to opportunity and therefore can compete on an equal playing field, which is not only true. When we see poor characters in parasitic wars, dying to maintain their subordinate positions, we see that there is no effort or ability to overthrow the existing dominant system, but it is a disunity among the poor. Competition is less homeless. The traditional argument that capitalism is so prevalent is that social democracy, high taxes, and a lack of budget only serve to get the rich out of the hard-earned pockets and put this wealth into the hands of the lazy and dishonest poor.

But what the Parasite has noted is that the relationship between the rich and the poor is mostly parasitic in the opposite direction. The capitalists are often poor because they are not willing to properly compensate for their labor to maximize profits. The jobs occupied by the Ki-woo family give him prosperity at the end of the day because his wages do not provide him with sufficient means to escape destruction. The humiliating and emotional labor they provide for parks actually benefits the parks. At the end of the film, with K-Tek remaining in the bunker for an indefinite fate and Ki-woo reestablished in his basement, we are left with the vague reality that the current capitalist order is vague and discontinued. What's more, this brutal system can be easily generalized. Above all, the greatest trick ever made was to convince the world that capitalism did not exist. This is the harsh reality of the world we live in right now and hence the Parasite should scare us all. 

Parasite-Movie-2019-Review-Cast-Oscar



Parasite IMDb Rating 

  • 8.6/10

Director By

Parasite (2019 awards)

 Parasite movie wins 4 academy awards

1. Academy award for best picture

2. Academy award for best original screenplay

3.Academy award for best director

4.Academy award for best international feature film

Parasite Trailer


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