"All men are created equal" is an amazing modern invention. It creates an ever-upward kinetic energy for this world that needs fuel. After all, sowing the seeds of upwardness in people's hearts is a miracle that can only be created by great men.
The state of extreme poverty in modern society is not about being displaced or starving, but being deprived of all the possibilities of providing services. At that point, people are no longer acceptable to this capital world. They are transparent, non-existent, and "alienated" that can be obliterated at any time.
Look at the four members of the Kim family. Ki Woo is smart and clever, Ki Jeong is calm and talented, Chung Sook was once an excellent medal thrower (like Bae Doo Na in "Han River Monster"), and Song Kang Ho played the soul character Ji Ze But he was an ordinary frustrated man who followed suit but failed to open a shop.
Smart, smart, powerful, resourceful, united and sincere. However, in the end, they were still defeated. It was because they regarded themselves as "people" too much.
The parasitic relationship of several groups echoed, in the four-person group, the most human-like father, Ji Ze, is the parasitic of the whole family. When the whole family moved together, he would always lose the chain. He was the one who had a quarter of the pizza box folded undesirably, and he was the one who almost got caught when he climbed out of the table. Just as the former housekeeper Wen Guang’s parasite is a husband who does not see the sun, there are also parasites on the parasite, and there are bottomless basements under the semi-basement, overlapping and endless. It seems to indicate that the first thing for the extremely poor to live like individuals in this world is not to think of themselves as individuals. The society has its own strict discipline system, rewards those who are in their place, and eliminates delusions out of the standard. Bong Joon-ho does not have a popular moral drama in which the host also needs to be parasitic. Instead, he tells you clearly that as the ultimate host, President Park’s family does not need the “service” of the parasite at all. The two generations of housekeepers resigned and changed the driver if they were suspicious. The relationship between the parasite and the host is not a symbiosis of mutual need, but an absolute relationship in which one side dies and the other side has nothing to do with. Such as the ridicule of the North and South regions, the mapping of the US-South Korea pattern.
However, no one is willing to live in a semi-basement all their lives, where anyone can pee on your head, and the place to eat is lower than the place of excretion. This also means that all functions are disordered and all order is Upside down. In a world where both excretion and eating are reversed, people degenerate into fecal worms, and what awaits them is nothing more than spraying disinfection and insignificant life and death from time to time, and it’s not their turn to serve the upper world. Chance.
This is very troublesome. The reason why people can treat people as people is mainly because of the possibility of mutual benefit exchange and cooperation, as well as the natural empathy and similarities that should not be obliterated. However, whether it was Yeonjiao’s “Have you washed your hands” or President Park’s repeated “I hate to cross the line”, they clearly abolished the commonality between you and me. The insurmountable line of 38. That extremely nasty sofa sex scene is not an optional cheap stimulus, but a concretization of the narcissistic self-satisfaction slogan such as "living an upper life and enjoying inferior lust". From a logical point of view, the Parks cannot be said to have deprived the family of their living resources, and even given them what they need to live on in a sense. But by turning the inferior people's coldness, cheap panties, and unpleasant smells into the embellishment and aphrodisiac props of the upper-class people. They deprived them of the dignity and qualifications of the Keize family, who were trembling and concealed their faces like a cockroach.
It's not incomprehensible that the dove occupied the magpie's nest while the owner was away. But when Ji-woo said that he fell in love with Dahui and wanted to marry him, the family suddenly remembered the scene of having a drink with her future in-laws. Why don't they know this is wishful thinking, but the poor have their own self-esteem illusions that the poor can't break their bones. This illusion is that Ki-woo failed to enter Yonsei University after taking the exam four times, but vowed to say that he was just stubborn to get his graduation certificate in advance; it was Keize who asked President Park several times, but you still love his wife’s inquiries. For his father, Keize, he still adhered to a naive and poor logic. He could not see the distance between the front and back seats of a car, which is generally difficult to cross. The president dealt with each other and yelled to Wenguang from the beginning, you are so worthy of the kind-hearted president Park's family, and finally hit the extreme cold class barrier and attacked with a knife. This kind of heart-to-heart comparison finally killed many people. .
The "ghosts" in the basement rushed out to kill the Quartet. Ji Ting fell to the ground without help. The moment President Park turned his head and covered his nose, Ji Ze saw the deep gully. No one exuded the so-called poverty. taste? That's just normal humanity, but because they have nothing, even the humanity they exude becomes extremely disgusting. In the eyes of the other party, he is at most dog feed, tree fertilizer (Wenguang and her husband) or a piece of stinky meat. Killing the president in despair is a deeply stimulating instinct for future generations. And consciously returning to the basement, he finally understood his sequence position in this world, and could not tolerate confusion. The irony is that after the tortoise shrank to a deeper basement, the order of excretion and diet returned. The so-called "everyone has a position" is also emphasized repeatedly in "Snow Country Train".
Feng Junhao has always been very sensitive to the issue of row seats. "Yuzi" and "Snow Country Train" are all similar themes. He always has the ability to earnestly dig into serious realistic issues within the framework of the genre; but on the other hand, everything is presented too plainly, and his class criticism always stays at the level of metaphor.
The entire modernist revolution is to break the old-world framework of "born unequal, and the destiny is the way of heaven." But Bong Joon-ho seems to be fascinated by narratives. This hierarchical concept of resurrection is growing in the golden grid constructed by capital, and will never disappear quietly because of the democratization of education and politics.
Compared with the retreat father who has learned the world’s extreme cold, the son whose head has been smashed twice finally understands that the social appearance of "a doctor who is not like a doctor, and a policeman who is not like a policeman" is not worthy of its use. Only money is what it is. The only way to turn ghosts into humans. After all disillusionment, the world finally fell like a mansion and restored its original orderly appearance. Watching this film always has the illusion of watching a science fiction movie. The mansion left by the first-class artist, the deep pit basement for avoiding nuclear war, the tragedy of the flooded basement, all kinds of points, in fact, the totality of the rough and complicated real world is separated. Not a small distance, it is an exquisite black fable.
PS: With a little personal opinion, Feng Junhao’s best work is still "Mother". Both "Parasite" and "Snow Country Train" reflect both sides in terms of concept and artistic quality. And this "Parasite" is not even his most authoritative work. It's like a deeply personal work by Hirokazu Edema. It's always "Nobody Knows", not "The Thief Family".
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