A fable story
1 The Zerg that is forever being expelled but never ceases to live
2 Abusive caste differences spanning orders of magnitude
3 The bright prospect of seeing the sun again, the cramped status quo that cannot move an inch, and the squeeze on people
4 A stone that cannot be carried, a crown that cannot be carried, it is easy to throw it, but it is always home before you. The haze of desire lingers, but arrogantly uses bright tones to justify his own name, only smiling and relieved in dreams (whether through violent plunder or gentle resistance, the dream of the villa will last forever, and the desire will not die)
5 The same kind of killing is shocking, and the probability of the world's proletarians uniting is almost zero
6 The Combination of a Fatalist and a Daydream
2. Character functionalization and plot dramatization: self-fulfilling allegorical attributes
The burden of men, the sacrifice of women, the kindness and innocence of children, the eyes of God are also the gaze of the eyes of ghosts
3. The impact of montages: contrasting settings
1 "Rich people" bathed in love, the sofa was tangled, and "poor people" bathed in the heaven and earth, and the flood came to squat on the toilet. (A satire on the interaction design of the unity of nature and man in architecture?) But on the other side, the "rich" still bears the consequences of the "poor"'s nightmare-like return, which is mainly manifested by the little son's bewilderment. However, only the poor can understand the "poor" bell, so the relationship between "Jessica" and the child can be clarified. And the hot-headed birthday party after the flood of love and the four "housekeepers" who are exhausted after the flood of life. (living room clothing and disaster relief clothing, disheveled face and delicate makeup)
2 "Father" begins with a duster, and finally becomes a basement bug.
3 The "stone" symbolizes the power structure of oppressive power, and fatalism. Gao Fushuai's friends change the life trajectory of the "poor man" almost like a child's play (the gods who have been repeated countless times in idol dramas, the chance to enter a new circle with a high-sounding appearance: make-up lessons), the "poor man" is willing to set foot here despite knowing the depth of the water. A road of no return (knowing that the stone was a nonsense gift from a friend, and finally returned to its original position in the river?) Facing temptation, it presents the greed and incompetence of real human nature.
4 Splashing dirty water and stabbing knives represent the force of violent resistance of the "poor", and it is the only way they can control. Also, due to their low status, they tend to fall into the role of the "rich" model (three couples of men and women on the sofa are similar to each other, Kevin imitates Min Hyuk Oppa to say the same thing to express the same love, and to deprive Proud of the rights enjoyed by others), and kindred killings (power inversion and confrontation between the two-house butler duo and the quartet), or "follow-up" suicide attacks, often unable to survive (like Gao Fu) Handsome friends can frighten drunkards with their fierce words, and they are neat) but need to fight physically and fall into a fierce battle (when father and son fight against the same drunkard, the three attack each other and fall into chaos; blood red birthday party, death and injury, trial, imprisonment)
▲Doubtful
1 How many times subjective perspective = ghost perspective = man in the basement perspective? From the basement entrance to the seat next to Jessica? Disappeared in front of the villa following the Kim driver who had given up the killing ring?
2 The most cruel scene is that the "poor man" has to face the Huanai live mother from above? At the same time, suppress yourself and show strength by resisting instinct. The power of repression is both inside and outside.
3 Are the "rich" nearly blind? They have been taken up by capital, appearance, material, and self-righteous arrogance, and they have been reduced to puppets. They only want to believe what they believe and see what they want to see, lingering in the world in an incredible state of occlusion, cocooning themselves.
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