#kim gwang taek

[capricho42]

Heaven's Trying Everything To Keep Me Out

[adamwatchesmovies]

Parasite (2019)

Parasite is the kind of wholly original film that’s impossible to predict. It also has a lot to say about our world, which means there’s no way you’ll be able to catch everything on a single viewing. With plenty of dark laughs, the kind of suspense that will have your stomach in knots, an ending that sticks with you and masterful direction by Bong Joon-ho, it’ll knock you right off your feet - even if you’ve seen it before.

Kim Ki-taek (Song Kang-ho), his wife Chung-sook (Jang Hye-jin), their son Ki-woo (Choi Woo-shik) and daughter Ki-jeong (Park So-dam) make ends meet by snatching up whatever prospect comes their way. One day, Ki-woo finds a job tutoring Da-hye (Jung Ji-so), the daughter of the wealthy Park family. Sensing an opportunity, the Kims scheme, lie and fake their way into the household.

Part of what makes Parasite such a wild ride is that you never know who you should be cheering for or what the movie wants you to feel. When we first meet the Kim family, they’re scrambling around their dump of a semi-basement apartment looking for a free wifi signal so they can get a shipment of pizza boxes sent to them. Folding the boxes is how they’ll pay for their next meal. When they submit their work, part of their earnings is deducted because 25% of the boxes are badly folded. There are four family members. A quarter of the boxes are no good. Hmmm… There’s something funny and pathetic about the way they manage to screw up such a simple, honest job but excel at conning their way into the Park household. The more elaborate and extravagant their scam becomes, the more they thrive. You know it’s wrong, but there’s something "admirable" about their resourcefulness and determination. You don’t feel too bad for the Park family. Aside from Ki-jeong, everyone is actually doing the job they’ve been hired to do and there’s no way she’d get away with spinning her bullshit into dollars if Mrs. Park wasn’t such a dummy.

Then, your feelings about the Kims start changing. It’s one thing for them to exploit the Parks, whose wealth is wasted on them but this quest to get all of them on the same payroll means taking away jobs from other people. As we eventually find out, the current housekeeper of the Park family, Gook Moon-gwang (Lee Jung-eun) REALLY needs this job they’re stealing from her. As the film progresses, Bong Joon-ho shows us how the lap of luxury has made the Parks into ugly, entitled snobs. The more we see of the parents (Lee Sun-kyun and Cho Yeo-jeong), the less we like them. The thing is, the Kims are not much better. They’re also recklessly gobbling up the jobs in their employer’s household at the expense of everyone else. The people currently employed? they’re obstacles to be toppled over, not people with similar plights to their own. They never have a goal to make enough money to move into a nicer home. Their goal becomes to have THIS home, a building they know is too much for two parents and two children. While all of these people are on opposite ends of the financial spectrum, they both disregard others equally.

It would be criminal to give away the big surprises that come at the end of the film - and you probably wouldn’t believe me if I told you what they were anyway. Revealing all the intricacies of the scam would be just as heinous. The proof is that even upon multiple viewings, it’s a horrifying delight to see it play out the way it does. I do want to discuss the very very last scene, however. In the film, it’s presented as hopeful, a long-term strategy Ki-woo will follow to get the family what they desire the most. It all seems good but when you take a step back, you realize how hopeless it is. That final moment is about how wide a gap is between the rich and the poor. It's not about leaving us with a smile on our faces. It’s not as clear as it would be in a documentary but it’s a thousand times more impactful - and entertaining.

Parasite is mesmerizing, the kind of film you want to watch over and over so you can fully appreciate everything. It’s full of surprises, masterfully directed and certainly as good as everyone is saying it is. (Original Korean with English Subtitles, July 25, 2022)

[goalhofer]

2024 olympics South Korea roster

Archery

Je-Deok Kim (Seoul)

Woo-Jin Kim (Okcheon Gun)

Woo-Seok Lee (Incheon)

Hun-Young Jeon (Incheon)

Si-Hyeon Lim (Gangneung)

Su-Hyeon Nam (Suncheon)

Athletics

Jangwoo Kim (Seoul)

Byeong-Gwang Choe (Seoul)

Sang-Hyeok Woo (Daejeon)

Badminton

Hyeok-Jin Jeon (Ulsan)

Min-Hyuk Kang (Suwon)

Seung-Jae Seo (Buan Gun)

Won-Ho Kim (Suwon)

Ga-Eun Kim (Suwon)

Se-Young An (Gwangju)

Ha-Na Baek (Gimcheon)

So-Hee Lee (Ulsan)

So-Yeong Kim (Incheon)

Hee-Yong Kong (Jincheon Gun)

Yoo-Jung Chae (Suwon)

Na-Eun Jeong (Seoul)

Boxing

Ae-Ji Im (Hwasun Gun)

Yeon-Ji Oh (Gunsan)

Breakdancing

Hong-Yul Kim (Seoul)

Climbing

Eun-Cheol Shin (Seoul)

Dohyun Lee (Seoul)

Chae-Hyun Seo (Seoul)

Cycling

Eu-Ro Kim (Seoul)

Min-Ji Song (Seoul)

Diving

Jaegyeong Yi (Ulsan)

Jung-Whi Shin (Seoul)

Ha-Ram Woo (Busan)

Yeong-Taek Kim (Incheon)

Na-Hyun Kim (Seoul)

Su-Ji Kim (Changwon)

Equestrian

Young-Shik Hwang (Osan)

Fencing

Jae-Won Kim (Seoul)

Tae-Gyu Ha (Seoul)

Bon-Gil Gu (Daegu)

Sang-Uk Oh (Daejeon)

Sang-Won Park (Daejeon)

Gyeong-Dong Do (Yeongcheon)

Se-Ra Song (Geumsan Gun)

Hye-In Lee (Ulsan)

Young-Mi Kang (Incheon)

In-Jeong Choi (Geumsan Gun)

Ji-Su Yoon (Busan)

Sebin Choi (Suwon)

Ha-Young Jeon (Daejeon)

Eun-Hye Jeon (Daejeon)

Golf

Joo-Hyung Kim (Seoul)

Byeong-Hun An (Orlando, Florida)

Hee-Young Yang (Orlando, Florida)

Hyo-Joo Kim (Wonju)

Jin-Young Ko (Frisco, Texas)

Gymnastics

Jun-Ho Lee (Seoul)

Woong Hur (Seoul)

Sung-Hyun Ryu (Seoul)

Seo-Jeong Yeo (Yongin)

Do-Hyun Eom (Seoul)

Da-Yeong Lee (Seoul)

Yun-Seo Lee (Seoul)

Sol-Yi Shin (Chungju)

Handball

Bitna Woo (Seoul)

Eunseo Kang (Seoul)

Ji-Yeon Jeon (Samcheok)

Da-Young Kim (Busan)

Jin-Mi Shin (Seoul)

Ji-Young Song (Gwangmyeong)

Eun-Joo Shin (Incheon)

Eun-Hee Ryu (Incheon)

Jin-Hui Jeong (Seoul)

Sae-Young Park (Seoul)

Mi-Seul Han (Sokcho)

Eun-Hye Kang (Seoul)

Kyung-Min Kang (Incheon)

Bo-Eun Gim (Samcheok)

Judo

Won-Jin Kim (Cheorwon Gun)

Ba-Ul An (Anyang)

Joon-Hwan Lee (Gumi)

Ju-Yeop Han (Seoul)

Min-Jong Kim (Seoul)

Hye-Kyeong Lee (Ulsan)

Ye-Rin Jung (Daegu)

Mi-Mi Huh (Tokyo, Japan)

Ji-Su Kim (Himeji, Japan)

Hyun-Ji Yoon (Cheorwon Gun)

Ha-Jun Kim (Busan)

Pentathlon

Woong-Tae Jung (Gwangju)

Changwan Seo (Yeongam)

Sunwoo Kim (Seoul)

Seung-Min Seong (Daegu)

Sailing

Jee-Min Ha (Busan)

Shooting

Daehan Choe (Changwon)

Min-Su Kim (Seoul)

Ha-Jun Park (Yangyang Gun)

Won-Ho Lee (Busan)

Yeong-Jae Cho (Chuncheon)

Jong-Ho Song (Seoul)

Eun-Seo Lee (Seoul)

Kook-Hee Jang (Seoul)

Ji-Hyeon Keum (Ulsan)

Ha-Na Im (Wonju)

Ye-Ji Kim (Danyang Gun)

Ye-Jin Oh (Hacheon-Ri)

Ji-In Yang (Namwon)

Gee-Eun Kang (Seoul)

Bo-Na Lee (Seoul)

Swimming

Dong-Yeol Choi (Seoul)

Min-Seop Kim (Seoul)

Yeonghyeon Kim (Seoul)

Ji-Hun Kim (Seoul)

Yu-Chan Ji (Gwangju)

Sun-Woo Hwang (Suwon)

Woo-Min Kim (Busan)

Ju-Ho Lee (Seoul)

Sung-Jae Cho (Ansan)

Ho-Joon Lee (Seoul)

Yoo-Yeon Lee (Anyang)

Jae-Hoon Yang (Jinhae)

Yoonseo Hur (Seoul)

Ri-Young Lee (Seoul)

Yeon-Kyung Hur (Seoul)

Eunji Lee (Seoul)

Seo-Yeong Kim (Suwon)

Table tennis

Dae-Seong Cho (Seoul)

Woo-Jin Jang (Sokcho)

Jong-Hoon Lim (Busan)

Ji-Hee Jeon (Seoul)

Yu-Bin Shin (Suwon)

Eun-Hye Lee (Seoul)

Taekwondo

Tae-Joon Park (Ulsan)

Geon-Woo Seo (Seoul)

Yu-Jin Kim (Danyang Gun)

Da-Bin Lee (Ulsan)

Weightlifting

Joo-Hyo Bak (Goyang)

Dong-Ju Yu (Sunchang Gun)

Yeon-Hak Jang (Asan)

Su-Hyeon Kim (Suwon)

Hye-Jeong Park (Ansan)

Wrestling

Seung-Jun Kim (Seoul)

Seung-Chan Lee (Seoul)

Hanbit Lee (Seoul)

[myramglina]

TXT (투모로우바이투게더) 'Angel Or Devil' Official MV from flexible pictures on Vimeo.

TXT (투모로우바이투게더) 'Angel Or Devil' Official MV

Executive Producer : Flexible Pictures Director : Kim Ja Kyoung Assistant Director : Oh Hae Gyun, So Seong Hoon Producer : Song Min Seo Director of Photography : Yuninmo Gaffer : Chung Joong hyuk, Park Jun Hee Jimmy Jib : Kim Young Jung, Mun Ju Chun MCC : 52th Robot Arm : Atom Art Director : Kim Su Ji 2D Motion Design : Noh Seong Chan, Jun Min Jeong, Jeong Da Eun Location Manager : Choi Jin Won DI : Digital Factory

Visual Creative : Nu Kim, Lee Hyun Ju, Kang Sung Do, Cha Yeon Hwa Performance Directing: Son Sung deuk, Kim Su Bin, Lee Ga Hun Artist Management: Kim Shin Gyu, Kim Ji Soo, Yang Jun Hyeong, Oh Gwang Taek

BigHit Entertainment. Rights are reserved selectively in the video. Unauthorized reproduction is a violation of applicable laws. Manufactured by BigHit Entertainment, Seoul, Korea

[agendaculturaldelima]

   #ProyeccionDeVida

🎬 “PARÁSITOS” [Parasite / Gisaengchung]

🔎 Género: Intriga / Comedia / Drama / Thriller / Familia

⌛️ Duración: 132 minutos

✍️ Guión: Bong Joon-ho y Han Jin-won

🎼 Música: Jung Jae-il

📷 Fotografía: Hong Kyung-pyo

🗯 Argumento: Tanto Gi Taek (Song Kang-ho) como su familia están sin trabajo. Cuando su hijo mayor, Gi Woo (Choi Woo-sik), empieza a dar clases particulares en casa de Park (Lee Seon-gyun), las dos familias, que tienen mucho en común pese a pertenecer a dos mundos totalmente distintos, comienzan una interrelación de resultados imprevisibles.

👥 Reparto: Lee Sun-kyun (Park Dong-Ik), Cho Yeo-jeong (Yeon-kyo), Park So-dam (Ki-jung), Choi Woo-shik (Ki-woo), Park Seo-joon (Min), Song Kang-ho (Kim Ki-taek), Jung Ji-so (Da-hye), Park Myung-hoon (Geun Se), Jang Hye-jin (Choong sook), Lee Jung-eun (Moon-gwang) y Jung Hyeon-jun (Da-song).

📢 Dirección: Bong Joon-Ho

© Productoras: Barunson, CJ Entertainment, TMS Comics, TMS Entertainment, CJ E&M Film Financing & Investment Entertainment & Comics

🌎 País: Corea del Sur

📅 Año: 2019

📽 Proyección:

📆 Martes 04 de Junio

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[pink-factory]

홍천횡단: 생동의 축지법 (2023), 216쪽; 참여작가: 요한네스 클레멘, 이은경, 카트린 바움개르트너, 플로리안 카륵, 필립 사일러, 얀 가르트네르, 막시밀리안 수위착, 강영민, 전수현, 배미정, 마리안 와이블, 이름; 글: 남웅, 이택광, 박준성, 장수미, 이름, 이안 코이츤베악, 김민관

HONGCHEON CROSSING: LONG DISTANCE SHORT CUTS OF LIFE (2023), 216pp; ARTISTS: Johannes Klemen, Lee Eun Kyong, Katrin Baumgärtner, Florian Karg, Philipp Seiler, Jan Gartner, Maksymilian Suwiczak, Kang Youngmean, Jeon Suhyun, Bae MiJung, Marian Waibl, Name; TEXTS: Nam Woong, Alex Taek-Gwang Lee, Joon-Sung Park. Su-Mi Jang, Name, Jan Creutzenberg, Kim Min-kwan

[kyle-reviews]

Parasite Review

After months of anticipation and dodging spoilers online, I finally got to see Parasite, a movie that took not just the Oscars but the whole world by storm. From the very first scene, I knew I was diving into something more than a simple film. Parasite is not just a narrative; it's a social dissection. It places you right in the heart of the lives of two starkly different families and the intricate dynamics between them. As the story plays out, you're left contemplating the underlying themes: social disparity, class struggle, and the disturbing reality of a world divided. The beauty of Parasite lies in its ambiguity, allowing each viewer to derive their unique interpretations and conclusions about its socio-political commentary.

The film opens with the Kim family, living in a semi-basement, scavenging for Wi-Fi, and folding pizza boxes for a meagre living. This introduction captures their humour, resilience, and the everyday struggles of life in the lower classes of society. Then enters the wealthy Park family, living in an architecturally magnificent house, fully immune to the struggles the Kims grapple with daily. The clever, almost parasitic, maneuvering of the Kims to integrate into the Park household provides comic relief and heightens the drama. This dynamic contrast between the two families lays the groundwork for an unpredictable series of events that exposes the stark class divide; something we should probably pay more attention to. The characters in this movie are a masterclass in depth and complexity. Every character, regardless of screen time, is thoughtfully crafted and they all symbolize different aspects of society. Ki-woo, played by the exceptional Choi Woo-shik, personifies the ambitious youth trapped in societal constraints, while the mother, Chung-sook, portrayed by the outstanding Jang Hye-jin, embodies resilience. However, it is Song Kang-ho, who steals the show as Ki-taek, the father figure whose tough exterior masks a man grappling with his reality.

The Park family's portrayal is equally nuanced. Yeon-kyo, played by Jo Yeo-jeong, is not a mere caricature of the clueless wealthy housewife, but a woman navigating her privileged world with her insecurities. The enigmatic housekeeper Moon-gwang, portrayed by Lee Jung-eun, delivers a haunting performance, adding another layer of complexity to the narrative. Parasite takes a sharp turn midway, delivering a gut-punch that shakes you to your core. The movie's climax, set against a picturesque backdrop, descends into an unforgettable sequence of events. A beautifully orchestrated chaos that keeps you guessing, questioning the unfolding reality. The build-up to this climax, with the film's remarkable use of visual metaphors and sound, completely engulfs you in its atmospheric storytelling and the intricate emotional landscapes of its characters.

One of the things that made this movie so captivating for me was, even though the storyline is quite ominous, gloomy, and somewhat dark, I was completely drawn in from the beginning to the end. No other movie has ever given me such a rush of adrenaline. I believe that Bong Joon-ho achieved this by beautifully executing his filmmaking technique. As Bong wrote the script, he made mock-ups of the houses. After paying close attention, I noticed that there were front-facing windows in each house that mirrored the windows in the neighboring house. The poor family's window is small, and they can see a drunken man urinating. An expansive window was built for the rich family which faces a lovely garden. The poor family also lives underground while the rich family lives on a high hill. Bong used High and Low shots to engage the Kim family. We look up at the son as the tutor, and the perspective flips. It was Kyung-pyo's lighting, as well as Bong's framing and shooting style, that helped convey the tone of the film very effectively for me. A lack of sunshine intensified the contrast between the rich and poor which Kyung pyo played with as a way to draw attention to the differences between the rich and the poor. Most of the interior of the rich family's mansion is bathed in warm, natural light throughout the day. Only a small window lets sunlight into the poor family's basement.

One other thing that truly stayed with me long after Parasite ended was how it presented social disparity in an ingenious and haunting style. The film is brilliant in the way it holds up a mirror to society, forcing us to confront uncomfortable realities that we often ignore. Even though I believe movies that deal with such issues of classism and social injustice often don't convey a larger message for a better world, Parasite still stands out for its frank and accurate portrayal of the human condition.

Like an intricate piece of art, Parasite demands reflection and introspection. Its genius lies in its moral ambivalence, refraining from spoon-feeding answers, thereby compelling its viewers to question, analyze, and understand the complex layers of societal structures. Much like life, there isn't an absolute right or wrong, good or evil in Parasite; it’s a compelling reflection of the shades of grey we live in. Director Bong Joon-ho masterfully raises difficult questions about class division, survival, and the human condition but leaves the interpretations to the viewer.

Only and only because of my love for feel-good movies, I give this movie a score of 9.5/10 :)

[marisramblings]

Yes, The Kims are the Bad Guys: A Review of Parasite

(This is click-bait, please read my review)

Quick thoughts:

The cinematography is absolutely gorgeous. There many stylistic choices that add to the overall atmosphere. The flooding scene with Ki-woo watching the water rush over his shoes. The water filling up their home as we watch the couple trapped in the bunker desperately trying to survive. The silence as Ki-taek realizes that he stabbed Dong-ik.

The movie is beautiful to watch and there are little touches here and there that make the experience even more enjoyable.

South Korea’s Culture:

I’m not South Korean, so there is a lot of cultural context I don’t have. There may be some critiques that come from this ignorance, so I would love to have an explanation. I think I caught most of it, but I know I’m missing information.

Why the Kims are actually bad people

I’m not starting with what they did to the Parks, but instead with Moon-gwang, her husband, and the driver. These people were also working class and had their lives completely upended due to the Kims. What I like about this, is that the Kims do feel some guilt but try to ignore it. It’s realistic and gives depth to our “parasites.” Purposefully aggravating someone’s allergies can be life-threatening. Planting the idea that someone’s driver may have assaulted someone is horrific. They manner in which these people were let go, may well affect their chances at finding other employment. Would you give a recommendation to a housekeeper you think is negligently spreading a serious disease or a driver that may fuck in your vehicles?

Ki-woo starting a romantic relationship with a high school sophomore is absolutely sickening. Min implying that he did the same? Also sickening. No one reacting properly to this? Makes me wonder if this is a common issue in South Korea. Not to mention, he attempted to murder the couple they trapped downstairs. Good on the husband for hitting Ki-woo. I also disliked Ki-jung manipulating a child’s trauma. She’s a cold one, for the most part.

Returning to Moon-gwang and her husband, I have to give the Kims some grace here. Their meeting and confrontation was an incredibly tense scene. Imagine finding out the previous housekeeper kept her husband in a secret bunk. Chung-sook could’ve accepted her deal, but chose to threaten her. A bucket of crabs situation, if you will. I love the parallels from this portion. They discover people doing what they’re doing and quickly work to secure their positions. The Kims attacked these people, attempted to cause anaphylaxis, and kicked Moon-gwang downstairs. Ki-taek finds blood on this unconscious woman and leaves her alone. Also, ties her up and locks them inside.

Why the Kims’ actions are understandable i.e. why they are great characters

The Kims depict the reality of poverty in SK. I assume it’s hard to get jobs unless you go to college. There’s a line about 500 graduates fighting over a security job. I think that paints a clear picture of how competitive the job market is. Ki-woo couldn’t pass what I assume were difficult entrance exams. Ki-jung has amazing talent with editing but probably can’t get a job for the same reasons. This family is barely scraping by. I have no qualms about lying about qualifications to get a job. Use that connection and make some coin.

The flooding scene and its aftermath are fucking amazing. Seeing them run in the rain just to find their only home covered in sewer water. Their few meager possessions are wrecked and they spend the night in the shelter. I think it’s a nice contrast to the warm and cushy night they were originally having. They’re living a fantasy and reality will fuck you over at any point in time.

I understand why Ki-taek lost it and stabbed Mr. Park. I don’t think the Kims are irredeemable monsters and Ki-taek crying over the man he killed shows that. They’re people living with shit circumstances trying to survive. They’re “bad people” in this movie, but they aren’t the bad guys.

No, the Parks aren’t bad guys, they aren’t good, but they aren’t bad.

I honestly want to delve into the minds of the people who think there are “good guys” and“bad guys” in this film. Where do they get this conclusion? The movie did not strike me as anti rich nor did it strike me as painting the Parks as these sweet, innocent protagonists.

The Parks seem like the average upper-class family. What surprised me was how often Mr. Park was home. I thought he would be more absent but he is involved with his family, minus his daughter.

Ahh, Da-hye. I assume SK also has this thing where sons are favored over daughters. She’s clearly looking for attention through her “trysts” with her tutors. I hesitate to fault the parents for not noticing her being groomed by two men because that shifts blame away from this fucking pieces of shit. She’s neglected and overlooked but because her base needs are met, the pain she’s going through is ignored.

I avoided parasite twitter to not see spoilers, but I saw the “hysteria” around Ram-don. Is sirloin expensive in SK? Could it be that the kind of steak doesn’t translate well in English? I get what it’s supposed to symbolize, but I can’t draw up too much rage at adding $10 steak to ramen.

The Park family crime is ignorance. They are shielded from the dark realities of the world by their money. When Ki-taek drives Mrs. Park around to prepare for the party, the stark reality of how different their experiences are is heartbreaking. The Parks don’t know what happened, the rain was just a nice bookend to the night. They don’t think about what a torrential rain can do to those that literally live below them. It’s like a snow day. Part of me is happy because I love the sight of snow and it often meant no school, but I think about the homeless people who are stuck outside in freezing temperatures. I can’t fault the Parks, but I understand Ki-taek’s frustration.

Class struggle(s)

Our three families represent the complexities of social classes and their struggles. Choong-sook said it best, the rich can afford to be nice because they have money. The Kims aren’t nice, but that’s the point. Their lives suck. When you’re siphoning wifi, folding pizza boxes, and watching drunkards piss outside your window, you’re not going to be super generous. We see that when they fight with Moon-gwang and her husband.

Moon-gwang and Guen-se are in similar circumstances, arguably worse since he has to hide from loan sharks. (I have questions around SK’s banking system. Loan sharks act like mafia and the Parks are paying their staff in cash and not via bank account). The Kims think they’re on the lowest rung and here are people even lower. Choong-sook tries to have them arrested to keep this newfound life of theirs. It’s selfish, they’re only focused on benefitting themselves. Still, the next day most of the Kims try to aid them. Too late, admittedly.

It says a lot that the Mr. and Mrs. Park expect Ki-taek to let “Jessica” and their other staff die to focus on saving their son. On one hand, I understand that the Parks were focused on saving their kid, like any decent parents, and that they didn’t know their staff was related. On the other hand, maybe have a little more concern for the people being attacked? I can’t fault Ki-taek for wanting to save his child too. Like I stated previously, the Parks, and by proxy the rich, struggle from ignorance. I’m not saying there aren’t rich people who actively revel in ruining others lives for their benefit, but some are just living. Am I really going to fault Mr. Park for living a comfortable life? No.

I like the imagery of the lower class characters having their issues downstairs. The Kims live below street level. Moon-gwang and Guen-se live in a bunker. They are situated even lower than the Kims. The Parks live uphill and upstairs, safely tucked away from the brutal realities of the world.

So what’s the point?

I’m not an economist, capitalist, communist, socialist, anarchist, etc because these theories hurt my brain. Money is fucking fake and people die due to greed.

This movie is sad. I felt for all the families in this movie. There are no good guys or bad guys, just people. People trying to live their lives. For me, this is the point. The Parks aren’t going to solve poverty. Ki-woo probably won’t get the money to free his dad. Moon-gwang and her husband are dead.

This movie critiques everyone. If the Kims had worked with Moon-gwang, they’d (might) still be living a cushy life. Mr. Park and Ki-jung wouldn’t be dead. Hell, they might’ve even gone home in time to close their window and hold down the toilet. The Parks' ignorance led to them getting conned and acquiring squatters. These are individuals in a fucked up system that propagates their mentalities.

Yes, I know this film is anti capitalist. I just hate economics.

Rating:

7.5/10

I wish the pacing was a little quicker since a good chunk of the movie is just the Kims getting their jobs. Besides that, I liked parasite. Great movie.

[mochingblog]

Parasite -Decoding & Deconstructing

Released in 2019, Parasite is a film by director Bong Joon-ho that deals with the issues between the poor and the rich people in society. It is more like a smaller version of South Korea, conveying the stereotype that the rich are happy and the poor are always unhappy. The actors in the film are perfect, but the director put the plot into a movie full of holes. To express and show the problem, it is an ideal commercial film, but it does not reflect the real social issues and is not worth more analysis and reflection. Generally speaking, for a movie with a strong story, there is a minimum requirement for the plot development to conform to the basic logic. Of course, some degree of factual and logical sacrifice is necessary for theme expression and dramatic effect. But this sacrifice of the actual parasite plot does not achieve the same thematic expression effect, which is empty.

First, arranging four family members into the wealthy family, which takes up the first 1/3 of the film, is very dramatic and does not go smoothly with common sense. Suppose the director asked Choi Woo-Sik for a job interview on the first day and suggested that a clip of his sister Kim Ki-Jung would show the character's ingenuity. (19:45 -- 20:37) In the latter part, the director arranged all the members of the Kim family into the Park family was too deliberate. Although the director uses this plot to express the unfairness of wealth and status in the character of the rich who are "naive" and "easy to fool," Bong Joon-ho forgot that the art of cinema comes from the reality of life, above life. This has wholly ignored the plot elements that can foreshadow a character.

If the Kim family moving smoothly into the mansion is necessary for the development of the plot, then they can also be unobtrusively qualified for the work of the mansion; it seems too false and strange. First, being a nanny and a driver for a wealthy family is not a simple job, especially for Gook Moon-gwang nanny, who had worked for years under a former builder before getting used to it. Apart from the work content, the nanny's mannerisms and appearance are entirely different from those of the old couple living in the slum environment. From 50:30-52:00, the director asked Jang Hye-jin to play the role of the nanny, and it can be seen that she was able to do the job very quickly. Then, of course, to convince the audience of the Kim family s deceitful tactics and loopholes, the director features Choi Woo-Sik rehearsing at home (42:00-43:01) and questioning the taste of Jang Hye-jin and Kim Ki-taek with the Park family s son. However, these passages are illogical and undermine the legitimacy of the characters. Let the wealthy family's "easy to fool" side becomes "stupid"; the poor become "Superman."

The screenwriter and director do not understand the appearance of the actual poor and the real rich, divorced from the background of the time to show the characters, will become an artistic puppet that overhead reality. The rich man in the film does not look like the rich man, although the director does not set the image of the successor of the chaebol status or a man born with a silver spoon but is a company boss. Because , the director sets the level of a successful person to be inferior to that of a chauffeur, making people think Park's family got rich by lottery. For example, in the clip (48:00-50:30), Kim Ki-taek made Park Dong-ik and Choi Yeon-gyo believe their fake company, The Care, by using fake business cards to make his wife become the nanny of the Park family. The Park family quickly believed them and did not investigate the company. The rich image played by Lee Sun-kyun is untenable after such content development. Just imagine which wealthy company boss can easily trust others to recommend the company; capitalists rely on exploitation that also has to be social elite. The director does not pave the way for this unexplained plot, nor does he explain the follow-up. Although Bong wanted to use such stories to construct the differences and a follow-up story about the development of parasitic behaviors between the rich and the poor, his characterization was always on the surface. It cannot convince the audience that this is real life. In the movie, the director made Choi Woo-sik and Park So-dam's poor family characters not look even poor. Society has different kinds of poor families because they may have no ability and no chance to get work, but the director only created the poor family with a thoughtful mind, quick-witted, capable of faking and deceiving and planning out the proper lines in advance. For such a family, it would be completely impractical for the director to let them live in a semi-basement setting. If the family's personality is based on reality, it's more likely that viewers will believe that they've already cheated their way to little success.

In addition, on a rainy night of camping, the Kim family occupied the host's house but suddenly encountered a visit from Gook Moon-gwang. Gook Moon-gwang's husband had been hiding in the basement of the house. Both families lived tough, and both think each other is a good person just because of poverty, so there is no surplus sympathy to share with others. They also believe that if they are rich like the Park family, they will naturally live sincerely and kindly. (1:02:55 -- 1:09:17) The director is trying to say that poverty is the reason for them or that poverty is the reason for the original sin. To maintain the most basic survival needs, people can break all moral bottom lines and harm others. But why poor? The director didn't expand the content and touch on fundamental reasons. Gook Moon-gwang's family owes money to loan sharks because her husband failed in business. The Kim family doesn't take things seriously on the job. Here, the director's explanation of the social government is absent. The Park family's rich and the Kim family's poor have also become synonymous with good and evil. The conclusion that rich people tend to be good should be based on the premise that everyone has the same moral height, regardless of the rich and poor. However, the movie does not describe the story of the characters played by Lee Sun-Kyun and Cho Yeo-Jeong, but highlights the characteristics of being easy to deceive. The Kim family always wants more after work by cheating. Gook Moon-gwang's husband even thinks life in the villa's basement is so good that he can always live there. Compared with the generosity of the Park family, the director's plot expression made the poor people deprived of even the people's eyes of sympathy.

It would be impossible if the director did not think to express the difference between the poor and the rich, the rich despise the poor. On the contrary, the director is very self-centered in his expression. For example, "smell" is his focus in this film. In the story, the Kim family has many poor appearance plots and loopholes as they become fake rich workers, but the director would not make the Park family notice. Instead, he uses "smell" as a metaphor to make Park feel the taste of the poor. Of course, there's no problem with "smell" as a cinematic metaphor,  but he mistakenly deliberately highlights it so that this element is overused and boring. The director was afraid that the audience could not see what he wanted to express, and he let Lee Sun-Kyun repeatedly say it from beginning to end, regardless of whether it was reasonable. It seems that whenever the director thinks it's time for a "smell" to appear, it should. As for what reason it occurs, no one knows. For example, it's understandable that the killer escapes from the basement and is filled with hatred to seek revenge on the main character's family. The killer stabbed So-dam Park's Kim Ki-Jung because he saw her in the first spot, which is also understandable. However, the problem came when Park Dong-ik picked up the car keys from underneath the killer after he got killed in reverse. (1:52:50-1:55:50) This time, the appearance of the smell is straightforward, as if all the previous preparation is for this moment; all smells created are meant to rationalize Park Dong-ik's killing. The director thoughtfully clarifies Kim's father's "bad" charges, even not evil people into bad ones.

The climax of the conflict that the director has to create when he starts the story but cannot solve the ending. The same goes for the movie ending (1:55:56-1:58:47), where the director keeps the people he needs and cuts out the characters he feels he can't reasonably explain. An inexplicable appearance at the scene of the criminal, the reporter only said "a homeless death" as the result of the investigation; After Kim killed Park and disappeared from the house, the police did not investigate the house and concluded the investigation with the verdict of "Kim Ki-taek is missing." These are places where the ending of the movie doesn't make sense. But the director doesn't seem to care because he only wants to express this parasitic problem of poverty and wealth that can never break through through Kim, who stays in the basement and writes letters, and Kim's son, who gets letters outside. Kim Ki-taek does not know when her son will see the signal but types Morse code once a day (1:59:20 -- 2:04:06). As you can see, the light flash is visible outside but also inside the house. The director doesn't explain whether the Germans will find out about the ending.

As a drama with the gap between the rich and the poor as the main contradiction, it leads to the intensification of the contradiction in reality, and brings a kind of impersonal negative feeling of "yes, life is like this". As a purely entertaining commercial film, it kind of passes, but as a film that provokes human reflection, it does not make any sense, and even has the opposite effect.

Cited Works

Ho, Bong Joon. Parasite. Neon, 2019.

Venkoba, Kandi Sachin, et al. “Parasite (2019) Is a Paradoxical Experience Where in It Houses inside You and Provides Food for Thought.” FilmSpell, 10 Feb. 2020, https://filmspell.com/parasite-2019-is-a-paradoxical-experience-where-in-it-houses-inside-you-and-provides-food-for-thought/.  

Seo, Bo. “'Parasite' and the Curse of Closeness.” The Atlantic, Atlantic Media Company, 11 Feb. 2020, https://www.theatlantic.com/entertainment/archive/2019/10/parasite-and-curse-closeness/600385/. 

[mishelsmoviemarathon]

Parasite Movie Review

*this review will contain spoilers*

The film Parasite, directed by Bong Joon-ho was released in 2019 and was very well received by critics. Parasite was nominated for 6 Oscar Academy Awards and won 4. One of these awards was for Best Picture, Parasite was the first-ever non-English movie to win this category. After watching and researching the movie a little further, I would like to talk about some of the clever ways Bong Joon-ho was able to display themes such as the class conflict in the movie. 

The movie takes place in Seoul, South Korea and follows two families, the upper-class Park family and the lower-class Kim family. We watch as the eldest son of the Kim family, Ki-woo (Kevin) gets a tutoring job, teaching the eldest daughter of the Park family, Da-hye, after being recommended by his friend as a replacement. After one lesson with Da-hye, he recommends an art teacher for the younger Park sibling, Da-song, who happens to be his sister Ki-jung (Jessica), but the Park family does not know this. Over time they study the Park family and their staff very closely, learning their schedule, habits, and even medical information. They get rid of the Park’s family chauffeur and get the Park family to hire their dad, Kim Ki-taek. Their mom, Choong-sook takes over the role of the Parks family housekeeper after they make it look like the previous one is diagnosed with a horrible infectious disease. The Kim’s family's success comes to an end when the old housekeeper, Moon-gwang comes back to the house to collect something she forgot. It is revealed that her husband has been seeking shelter in the hidden basement of the house even before the Park family moved in, and ever since she was fired she hasn't been able to feed him. This leads to a struggle between the Kim family and the couple which ends quickly when the Kims successfully tie them up and lock them in the basement. The Park family returns early from their trip catching the Kim’s completely off guard and forces them to hide and overhear their conversations. That night the true opinions of the Park family on their staff is revealed, they complain of a certain “old man” smell that comes off Kim Ki-taek. The next day, at Da-song's birthday party violence, erupts as the old housekeeper's husband escapes from the basement and stabs Jessica in the chest. This whole event escalates further when Ms. Kim kills the man from the basement and Mr. Kim stabs Mr. Park who makes a face after smelling him. The movie then skips a few weeks into the future and we see Mrs. Kim and Kevin mourning Jessica’s death and Mr. Kim’s disappearance. We then learn that Mr. Kim is now hiding in the basement of the Park family’s old house, creating a loop to the beginning of the movie. 

After this long summary, I would hope you have a good understanding of the film. Something that was so interesting about this film is the director's approach to really showcasing the true theme of the film. Class conflict is very present throughout the movie, but the subtle ways in which Bong Joon-ho was able to represent the extremities of both classes were brilliant. For example, when the Kim family is laying underneath the table and the Park family is right above them on the couch. This shows an obvious difference between the families and is meant to display the Kims as less than or smaller than the Parks.

Another component of the film that was so genius is the way it restarts at the end of the movie. What I mean by that is we see Mr. Kim is living in the secret basement and sneaking upstairs to steal food at night. This is basically what has been happening throughout the entirety of the movie, even though it was not shown, Geun-se was doing the same thing. Geun-se, who was hiding from loan sharks in the same basement, also used to sneak into the kitchen in the middle of the night. Similarly, Mr. Kim is hiding from the police after he stabbed Mr. Park and does the same, they both also used the light switch in the basement to communicate using morse code. Finally, it's almost as if Mr. Kim is the new parasite in the house, as defined by the CDC: A parasite is an organism that lives on or in a host organism and gets its food from or at the expense of its host. 

Overall I would recommend watching this movie if you are into dramatic thriller movies that also have more of a comedic side to them. I would rate this movie an 8/10 because it is really easy to watch and follow along, but at the same time you can look and reflect on the themes (such as class conflict) and relate it to your life. It’s definitely worth a watch if you like watching a movie and then thinking about it for a long time trying to understand all of the little details.

[filmantidote]

'Parasite' Exposes Empty Promises of Trickle-Down Economics by Kenji Kuramitsu

In Parasite’s Seoul, altitude is a refined metaphor for power, elevation a barometer of prestige, while the subterranean prefigures the subhuman. After the Kims oust beloved housekeeper Moon-gwang in an elaborate frame job, the film pauses its manic romp to dwell on a rare moment of scarcity. With wind blowing and rain falling, Moon-gwang scrapes suitcase wheels downhill across slippery concrete, weathering a look of panicked shock at her new homelessness. To be human is to be above ground, and to be able to choose when to go outdoors. The rich go camping; the poor face encampment.

[...] Bong suggests that human beings are rather the same: watching the rain fall through the immaculate windows of their adoptive manor, the Kims spread eagerly across every comforting corner of their new mansion – they soak in bubble baths, open up diaries and the good wine, and enjoy a drunken last supper, musing about the unworthy poor.

In Parasite, the opposite of upward mobility is a downward spiral, and a major downpour marks the film’s chilling, inevitable descent towards its chaotic telos. Hours later, as the Kims flee down stairways and ramps to their own home, water torrents downwards. The Kim household, long under water financially, is swamped as the false promises of “trickle-down” economics are exposed as vacuous. A rising tide does not “float all boats” so much as drown the poor. [...]

The Korean people have suffered multiple foreign conquests over the centuries, and Parasite is a film teeming with the ghosts of the divided peninsula; Ki-taek jokes to Mr. Park that he is familiar with any street “below the 38th parallel;” Japanese food makes an appearance in Park’s home, as do newspaper clippings from the United States. Moments before threatening to expose the Kims’ schemes by threatening the nuclear option, Moon-gwang pleads to exchange a monthly remittance for food scraps – “we will send it to you every month!” – illustrating the inescapably predatory nature of human relationships under colonial extraction.

[royasmusings]

Parasite

Parasite, directed by Bong Joon-ho

2019

I know I’m late to the party when it comes to this film - lockdown unfortunately happened before I had the chance to see it in cinema. They opened up again this week and I’m so glad I waited to see it on the big screen.

I had high expectations for Parasite and yet I was still completely blown away by this film. There were many moments where I was laughing and others where my heart was in my chest. For a film to so seamlessly switch from comedy to horror is impressive and Parasite did this very well. 

The wealth disparity and class commentary of this film was stark from the start and there’s so much to engage with. One technique that I found particularly interesting was the idea of levels. The Kim family live in a banjiha, a semi-basement, the Parks live above ground in an expensive house while Geun-sae lives underground. Bong calls the film a “stairway” movie with these levels representing social position. The hierarchy is so stark that even the Kims have no sense of class solidarity with Guen-sae and Moon-gwang, rather they have a sense of pride over them as they are the ones successfully playing the system at the time. Both reliant on the Parks, they are unable to recognise the true (for lack of a better word) ‘enemy’  - the Parks. 

When Ki-Taek sees Mr Park disgusted at the smell of Guen-sae and kills him, I think it signifies the moment where he realises that him and Guen-sae are actually both victims of this late-stage capitalist system. If anything, if Chung-sook had accepted Moon-gwang’s plea when they discovered the bunker, and not held this sense of pride over her and her husband then the bloodshed would never have occurred. The shattering of this illusion of the Kims being ‘above’ them in the societal hierarchy is encapsulated further by how Ki-Taek then takes Guen-sae’s position in living in the bunker.

All in all, Parasite was truly an incredible film. It really is a cinematic masterpiece that deserves all the accolades that it has received. It’s humorous and playful yet simultaneously deeply, deeply poignant and thought-provoking. 

[goalhofer]

2020 Olympics South Korea Roster

Archery

Je-Deok Kim (Gyeongbuk)

Woojin Kim (Iwon)

Jin-Hyek Oh (Incheon)

San Ahn (Pyeongchang)

Min-Hee Jang (Seoul)

Chae-Young Kang (Gwangju)

Athletics

Wilson Erupe (Lodwar, Kenya)

Jong-Seop Sim (Seoul)

Byeong-Gwang Choi (Hwaseong)

Sang-Hyeok Woo (Seoul)

Min-Sub Jin (Busan)

Seulgi An (Seoul)

Kyung-Sun Choi (Seoul)

Badminton

Kwang-Hee Heo (Seoul)

Sol-Gyu Choi (Seoul)

Seung-Jae Seo (Buan)

Se-Young An (Gwangju)

Ga-Eun Kim (Gyeonggi-Do)

So-Yeong Kim (Incheon)

Hee-Yong Kong (Jincheon)

So-Hee Lee (Ulsan)

Seung-Chan Shin (Gochang-Gun)

Yoo-Jung Chae (Suwon)

Baseball

Won-Joon Choi (Seoul)

Woo-Suk Ko (Ganghwa-Gun)

Min-Woo Kim (Seoul)

Eui-Lee Lee (Gwangju)

Tae-In Won (Daegu)

Woo-Chan Cha (Gunsan)

Sang-Woo Cho (Uijeongbu)

Seung-Hwan Oh (Jeongeup)

Young-Pyo Ko (Gwangju)

Se-Woong Park (Daegu)

Jin-Uk Kim (Suwon)

Min-Ho Kang (Pohang)

Eui-Ji Yang (Gwangju)

Joo-Hwan Choi (Gwangju)

Kyoung-Min Hur (Gwangju)

Jae-Gyun Hwang (Seoul)

Baek-Ho Kang (Incheon)

Hye-Seong Kim (Seoul)

Jae-Il Oh (Guri)

Ji-Hwan Oh (Gunsan)

Hyun-Soo Kim (Seoul)

Jung-Hoo Lee (Gwangju)

Hae-Min Park (Seoul)

Kun-Woo Park (Seoul)

Basketball

Ji-Hyeon Sin (Seoul)

Lee-Seul Kang (Sacheon)

Ye-Bin Yoon (Boryeong)

Hye-Ji Ahn (Busan)

Hye-Jin Park (Busan)

Ji-Hyun Park (Seongnam)

Dan-Bi Kim (Bupyeong-Gu)

Hye-Yoon Bae (Seoul)

Jung-Eun Kim (Cheonan)

Min-Jeong Kim (Seoul)

Ji-Su Park (Seongnam)

Han-Byul Kim (Sacheon)

Boxing

Aeji Im (Hwasun-Gun)

Yeon-Ji Oh (Incheon)

Cycling

Ah-Reum Na (Naju)

Hye-Jin Lee (Geonggi)

Diving

Yeong-Nam Kim (Seoul)

Yeong-Taek Kim (Seoul)

Ha-Ram Woo (Busan)

Halim Kwon (Seoul)

Su-Ji Kim (Seoul)

Equestrian

Dong-Seon Kim (Seoul)

Fencing

Young-Jim Kweon (Iksan)

Segeon Ma (Seoul)

Sang-Young Park (Jinju)

Kwanghyun Lee (Seoul)

Bon-Gil Gu (Daegu)

Jung-Hwan Kim (Seoul)

Sang-Uk Oh (Daejeon)

Se-Ra Song (Seoul)

In-Jeong Choi (Geumsan)

Young-Mi Ko (Gwangju)

Hee-Sook Jeon (Seoul)

Soo-Yeon Choi (Ansan)

Ji-Yeon Kim (Busan)

Ji-Su Yoon (Busan)

Soccer

Bum-Keun Song (Seongnam)

You-Hyeon Lee (Gwangyang)

Jae-Woo Kim (Seoul)

Ji-Soo Park (Myungyeong)

Tae-Wook Jeong (Jeju)

Seung-Won Jeong (Jeonju)

Chang-Hoon Kwan (Seoul)

Kang-In Lee (Incheon)

Min-Kyu Song (Chungju)

Dong-Gyeong Lee (Seoul)

Dong-Jun Lee (Busan)

Young-Woo Seol (Ulsan)

Jin-Ya Kim (Daegun)

Dong-Hyun Kim (Seoul)

Du-Jae Won (Seoul)

Ui-Jo Hwang (Seongnam)

Won-Sang Um (Gwangju)

Joon-Soo Ahn (Uijeongbu)

Yoon-Sung Kang (Daegu)

Sang-Min Lee (Busan)

Changi An (Seoul)

Jin-Kyu Kim (Pohang)

Golf

Sung-Jae Im (Jeju Seom)

Si-Woo Kim (Seoul)

Jin-Young Ko (Seoul)

Park Inbee (Seoul)

Sei-Young Kim (Seoul)

Hyo-Joo Kim (Seoul)

Gymnastics

Jun-Ho Lee (Seoul)

Han-Sol Kim (Seoul)

Sung-Hyun Ryu (Seoul)

Hak-Seon Yang (Gwangju)

Jae-Hwan Shin (Jecheon)

Yun-Seo Lee (Seoul)

Seo-Jeong Yeo (Yongin-Si)

Handball

Yu-Ra Yung (Seoul)

Jun-Hui Jeong (Tongyeong)

Yun-Ji Kim (Seoul)

Kyun-Ming Kang (Seoul)

Hui Ju (Seoul)

Seon-Pil Won (Jeongseon)

Eun-Hee Ryu (Incheon)

Su-Min Choi (Seoul)

Hae-In Sim (Seoul)

Eun-Hye Kang (Seoul)

Ha-Rang Jo (Gwangju)

Mi-Gyeong Lee (Seoul)

Jin-Yi Kim (Taebaek)

Ji-In Jung (Busan)

Karate

Heejun Park (Busan)

Judo

Won-Jin Kim (Seoul)

Baul An (Anyang)

Shōrin An (Seoul)

Dong-Han Gwak (Pohang)

Gu-Ham Jo (Gangwon)

Min-Jong Kim (Seoul)

Yu-Jeong Kang (Yeosu)

Da-Sol Park (Seoul)

Ji-Su Kim (Seoul)

Hee-Ju Han (Seoul)

Seong-Yeon Kim (Gwangju)

Hyun-Ji Yoon (Seoul)

Mi-Jin Han (Seoul)

Pentathlon

Ung-Tae Jeon (Seoul)

Jin-Hwa Jun (Ulsan)

Se-Hee Kim (Seoul)

Sun-Woo Kim (Gyeonggi)

Rowing

Hye-Jung Jung (Seoul)

Rugby

Chang Yong (Seoul)

Jeong-Min Jang (Seoul)

Yon-Sik Jeong (Incheon)

Hyun Kim (Seoul)

Kun-Kyu Han (Seoul)

Nam Kim (Seoul)

Seong Lee (Seoul)

Won Park (Seoul)

Jin Lee (Seoul)

Andre Coquillard (Seoul)

Seong-Min Jang (Seoul)

Seong Choi (Seoul)

Gwong-Min Kim (Seoul)

Shooting

Dae-Yoon Han (Seoul)

Mo-Se Kim (Seoul)

Sang-Do Kim (Seoul)

Jong-Jun Lee (Seoul)

Jong-Oh Jin (Chuncheon)

Tae-Yun Nam (Seoul)

Jong-Ho Song (Seoul)

Eun-Young Cho (Seoul)

Ga-Eun Choo (Seoul)

Eun-Ji Kwon (Seoul)

Hee-Moon Park (Seoul)

Bo-Mi Kim (Seoul)

Min-Ji Kim (Ansan)

Min-Jung Kim (Seoul)

Climbing

Jongwon Chon (Seoul)

Chae-Hyun Seo (Seoul)

Swimming

Sungjae Cho (Seoul)

Seungwoo Moon (Seoul)

Yoo-Yeon Lee (Seoul)

Woo-Min Kim (Seoul)

Sun-Woo Hwang (Suwon)

Ju-Ho Lee (Asan)

Ho-Joon Lee (Gwangju)

Eunji Lee (Seoul)

Hyun-Young Jung (Seoul)

Da-Kyung Han (Gwangju)

Seo-Yeong Kim (Gyeonggi-Do)

Se-Hyeon An (Seoul)

Table Tennis

Woo-Jin Jang (Daejeon)

Young-Sik Jeoung (Seoul)

Sangsu Lee (Busan)

Ji-Hui Jeon (Seoul)

Yubin Shin (Seoul)

Hyo-Ju Choi (Busan)

Taekwondo

Jun Jang (Seoul)

Dae-Hoon Lee (Seoul)

Kyo-Don In (Incheon)

Jae-Young Sim (Seoul)

Ah-Reum Lee (Seoul)

Da-Bin Lee (Incheon)

Tennis

Soon-Woo Kwon (Sangju)

Volleyball

Eun-Jin Park (Seoul)

So-Young Lee (Asan)

Hye-Seon Yeom (Mokpo)

Hui-Jin Kim (Busan)

Hye-Jin An (Seoul)

Ji-Young Oh (Daegu)

Yeon-Gyeong Kim (Ansan)

Su-Ji Kim (Ansan)

Jeong-Ah Park (Seoul)

Hyo-Jin Yang (Busan)

Ji-Yun Jeong (Seoul)

Seung-Ju Pyo (Ulsan)

Weightlifting

Meong-Mok Han (Changwon)

Dong-Ju Yu (Jinan-Gun)

Yun-Seong Jin (Goyang)

Eunji Ham (Wonju)

Seon-Mi Lee (Gyeongsan)

Su-Hyeon Kim (Seoul)

Yeoun-Hee Kang (Seoul)

Wrestling

Han-Su Ryu (Busan)

Min-Seok Kim (Busan)

[myramglina]

TOMORROW X TOGETHER - CROWN from EumKo on Vimeo.

Director : Oui Kim Assistant Director : Hong Jaehwan Executive Producer : Yoo Jungwoo, Lumpens - Director of Photography : EumKo Focus Puller : Kim Duckjung 2nd AC : Lee Youngwoo , Hwang Kyoha 3rd AC : Heejung Kim , Ki Sunglim Jimmy Jib : Lee Dongjin Technocrane : Service Vision Korea Grip : Jongbae Kim - Gaffer : Yoon Seungnam Lighting Crew : Park Hyuk, Lee Seongil, Kim Mincheol, Kim Seonho, Choi Hanwook - Art Director : Kim Suji - Performance Directing : Son Sungdeuk, Kim Subin, Lee Gahun Visual Creative : Kim Sung Hyun, Lee Hyun Ju, Gabriel Cho, Yoon Ji Hyeon Artist Management : Kim Shin Gyu, Oh Gwang Taek, Yang Jun Hyeong - Photographer : Jdz Chung Animator : Kyeong Wook Jo, Cheon Seong Lee

Shot on Arri Alexa mini / 2019 EumKo

[luisfelipegonzalezlatorre]

Parásitos

Título: Parásitos Título original: Gisaengchung (Parasite)

Reparto:

Song Kang-ho (Kim Ki-taek)

Lee Seon-gyun (Park Dong-ik)

Jang Hye-jin (Kim Chung-sook)

Cho Yeo-jeong (Park Yeon-kyo)

Choi Woo-sik (Kim Ki-woo)

Park So-dam (Kim Ki-jung)

Año: 2019 Duración: 132 min. País: Corea del Sur Director: Bong Joon-ho Guión: Kim Dae-hwan, Bong Joon-ho, Jin Won Han Fotografía: Kyung-Pyo Hong Música: Jaeil Jung Género: Drama. Comedia

Parásitos ganó la Palma de Oro en el Festival de Cine de Cannes de 2019. Fue la primera película de Corea del Sur en hacerlo, así como la primera película en ganar con un voto unánime desde que ganó La vida de Adèle en la edición del Festival en 2013. En la 77a edición de los Premios Globo de oro, la película fue nominada para tres premios, incluyendo Mejor director y Mejor guion, y ganó la Mejor película extranjera, convirtiéndose en la primera película coreana en lograr esa hazaña. 

Esta película dirigida por Bong Joon-ho trata de la familia Kim que lucha día a día para poder mantenerse, al no contar el cabeza de familia, Ki-taek, ni ninguno de sus otros miembros, con un trabajo. Todo cambia para ellos cuando conocen a los Park, por medio de un amigo de Ki-woo, se trata una familia adinerada de quienes sacarán provecho los Kim ya que Ki-woo es recomendado para dar clases de inglés y consigue el trabajo.

Pero no se queda ahí, ya que con el tiempo los Kim hacen echar a los demás trabajadores de la lujosa familia, con el fin de quedarse con sus empleos. Esto formará una relación simbiótica en la que los Kim ofrecerán a los Park los servicios sin los que no son capaces de vivir, mientras que los Parks permitirán que los Kim puedan mantenerse económicamente. 

Todo iba bien, Ki-taek (padre Kim) trabaja de chofer para el señor Park, Chung-sook (madre Kim) trabaja de ama de llaves, Ki-woo continuaba dando clases de inglés a Da-hye la hija de los Park, con quien tiempo después entablaría una relación, por último, Ki-jeong trabaja como terapeuta de arte, ya que supuestamente el hijo de los Park Da-song, tiene esquizofrenia, y Ki-jeong puede curarlo con sus “terapias de arte”.

Un día los Park deciden irse de viaje por el cumpleaños de Da-Song, los Kim disfrutan la mansión con todos sus lujos. Esa noche, Moon-gwang (la antigua ama de llaves) regresa, a pedir el favor que se le deje entrar por solo un momento, con la excusa que se le había quedado algo, la familia Kim se escondió excepto Chung-sook que iba a atender a Moon-gwang, lo que ella menos esperaba, era encontrarse un sótano secreto en la casa, y dentro hallar a el marido de Moon-gwang en condiciones precarias.

Moon-gwang se entera que el esposo de Chung-sook, Geun-sae ha vivido allí durante años, ya que él debe mucho a unas personas muy peligrosas y le da miedo salir porque lo pueden llegar a matar, La señora Moon decide proponerle a Chung-sook que le iba a pagar para que ella alimente a su esposo, y mantenga el secreto, a lo que ella se niega y amenaza con llamar la policía, el resto de la familia kim escuchaba desde las escaleras, pero por desgracia se resbala uno de ellos.

Eso los dejo en evidencia ya que Ki-woo dice: ¡papá, mi brazo!, la peor parte es que Chung-sook estaba grabando con su celular, y los amenazó con enviarle el video a los Park. De un momento a otro todos se pelean por el dispositivo móvil, la ama de llaves recibió una llamada de los Park, diciendo que las fuertes lluvias arruinaron el viaje, y que se encuentran a pocos minutos de la casa, los Kim ganan la pelea y meten a Chung-sook y Geun-sae en el sótano secreto.

Pero ellos tenían otro problema, pues los Park, ya casi llegaban y su casa estaba muy desordenada y sucia, metieron toda la basura bajo los muebles, y limpiaron lo que pudieron, pero eso no les dio tiempo, los Park ya estaban llamando a la puerta, lo que los obliga a esconderse bajo la mesa de la sala de estar. Para su desgracia el hijo de los Park decide acampar afuera y los padres deciden dormir en la sala, para estar pendiente de su hijo.

Pasado un tiempo los Kim salen de la casa con mucha precaución, se dirigen a su pobre casa, pero la encuentran inundada por las fuertes lluvias, lo que los obliga a dormir en un lugar público.

Al día siguiente los Park organizan una fiesta de cumpleaños para su hijo Da-Song, e invitan a los trabajadores, en medio de la fiesta Ki-woo decide ir a el sótano secreto, y ve a Chung-sook sangrando tirada en el suelo, el la iba a ver mejor, pero Geun-sae lo ataca por la espalda, Ki-woo logra escapar, pero Geun-sae se va detrás de él y lo noquea con una piedra, luego coge un cuchillo de la cocina y va al patio donde están todos reunidos, sin pensarlo apuñala a Ki-jeong (la hija de los Kim), Da-song al ver tan sangrienta escena se desmaya.

Ki-taek corre rápidamente a ayudar a su hija, el Sr. Park le ordena a su chofer que lleve a Da-song al hospital. Ki-taek le intenta lanzar las llaves del carro, pero no llegan a su destino, gracias a la pelea de muerte entre Chung-sook y Geun-sae.

Chung-sook mata a Geun-sae, el Sr. Park recupera las llaves, mira mal a Ki-taek, y no le brinda ninguna ayuda a Ki-jeong que está agonizando. Ki-taek, sin pensarlo, recoge el cuchillo y se lo clava en la espalda a su jefe el Sr. Park.

Ki-woo (al que lo habían noqueado) despierta en un hospital y no podía parar de reírse, tal vez era por el golpe, Ki-woo y Chung-sook quedan libres, pero los mantenían en vigilancia, por si sabían del paradero de Ki-taek, que es acusado de asesinar a su jefe, y no aparece en ningún lado. Ki-jeong muere a causa de la herida. Cuando ya todo estaba calmado, Ki-woo observa desde la montaña a tan lujosa casa que solía ser de los Park, y se detalla que un de las bombillas alumbra de forma intermitente, el de inmediato supo que se trataba de código morse, y entendió que su padre estaba en el sótano secreto, porque desde allí podía controlar las luces como quiera, Ki-woo escribió una carta proponiéndose un plan a si mismo, decía que quería estudiar en la universidad, y que haría todo lo que este a su alcance, para algún día comprar esa casa y vivir con su familia en la particular casa. Ki-taek vivía en el sótano y por las noches salía a robar comida para poder sobrevivir.

¿Quién es en realidad el que merecería el calificativo de parásito social? ¿Esa familia que sobrevive a duras penas en medio de la penuria, aprovechándose de la credulidad de otros más afortunados de otros mas afortunados?¿O el empresario que gana dinero a espuertas, manteniendo a su mujer y a sus hijos en un limbo completamente ajeno al mundo real? Un personaje que, además, desprecia cuanto queda fuera de su burbuja, hasta el punto de que le huele mal.Respondiendo a la anterior pregunta, me parece que los dos tienen algo de parásito, pero mayormente los ricos, porque como explico mas adelante, los pobres luchan por sobrevivir, y los ricos se creen superiores a los demás. 

Esta película se merece los premios que se a ganado, ya que cuenta con una historia interesante, tiene sus momentos de suspenso, y de acción, además muestra dos mundos totalmente diferentes, los Kim luchando por sobrevivir, viviendo en condiciones indeseables, y los Park que lo tienen todo y no se preocupan por el dinero, estas son dos realidades que podemos encontrar a lo largo del mundo, tristemente es más común la pobre. Esta película nos quiere dar un mensaje, y es que debemos acabar con las clases sociales, los ricos deben dejar la envidia, avaricia, y el hecho de sentirse superior al otro solo por tener más comodidades de vida, y los pobres me parece que hacen lo necesario para sobrevivir, como cualquier ser humano, sin embargo las personas necesitadas no tienen derecho a abusar de la confianza de su jefes, por ejemplo, me parece horrible que los Kim hayan usado la casa de los Park como si fuese de ellos, cuando sus jefes no están en ella. 

Me encanto el trama de la película, y es de felicitar a los actores, directores, guionistas...por tan maravilloso trabajo. Respecto al final de la película, me parece que es un claro ejemplo de que todos somos iguales, y que por mucho dinero que tengas no eres superior a nadie, otro ejemplo de que todos somos iguales, es la relación entre Da-hye y Ki-woo, porque los dos sienten lo mismo, el amor, y no les importa la clase social o el dinero. A mi parecer es de admirar a todas las personas que luchan y trabajan duro para salir adelante, porque son personas que no les ha tocado una vida fácil, mientras que un niño que nace de padres ricos, ya va a tener la vida resuelta.

Para concluir, la película “Parásitos” es recomendable para ver, pero no se la recomiendo a los niños, primero porque está subtitulada en español y segundo, un niño no entiende, ni le preocupa, los problemas que tiene la humanidad. Tiene un final que nadie se lo espera, estoy seguro que esa conmovedora historia te va a hacer reflexionar acerca de como los humanos nos organizamos según las cosas sin importancia como lo es el dinero, también vas a agradecer las cosas que tienes, que tal vez para ti ni tienen importancia alguna.

Luis Felipe Gonzalez Latorre 

Lengua castellana - 1004

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Dirección:Bong Joon-ho

Producción: Bong Joon-ho, Kwak Sin-ae

Guión:Bong Joon-ho

Música: Jeong Jae-il

Fotografía: Hong Kyung-pyo

Montaje: Yang Jin-mo

reparto:

Kang-ho Song (como Kim Ki- taek)

Woo-sik Choi (como Kim ki-woo)

Park so-dam (como Kim Ki- jung)

Hye- jin Jang (como Kim Chung- sook)

Sun- kyun Lee (como Park Dong- ik)

Yeo- jeong Jo (como Park Yeon- kyo)

Ji- so Jung (como Park Da - hye)

Jeong- eun Lee (como Moon gwang)

Myeong- hoon Park como Geun- se

Género:Drama, Suspense, Humor negro

Duración:132 minutos

Año: 2019

Parásitos es una película donde nos muestra la vida de la familia Kim, en primera instancia nos muestran el lugar donde viven y podemos notar que es un semisótano y que está en muy malas condiciones por lo cual sabemos que la familia que vive ahí es de bajos recursos, “pobre”, una noche el amigo “Min-hyuk” llega y habla con el hijo Ki-woo para decirle que se va a ir a estudiar al exterior así que le pide que tome su puesto como tutor de la hija de la familia Park para enseñarle inglés.

En esta historia pasa algo muy particular cuando Ki-woo empieza a trabajar en esta casa conoce a la Señora Park, que es alguien muy peculiar, cuando está dentro de la casa también conoce  Da-song el hijo menor y poco a poco empieza a recomendarle a una profesora y terapeuta del arte que casualmente es su hermana, así estos hermanos planean una trampa para hacer que despidan al chofer para que contraten a su padre y a la ama de llaves para que contraten a su madre de esta manera todo la familia Kim empieza a entrar  a la casa de la familia Park dando haci giros inesperados en toda la trama de la película es una película con un poco de suspenso, muestra a realidad de los pensamientos de la clase alta hacia la clase bajo poniendo como ejemplo que el señor park dong- ik dice que  kim ki-tae huele mal es por eso que al final de la película este personaje se enoja debido a que piensa que lo compara con el olor de un fallecido 

en esta película se refleja la realidad de corea de que no todo es maravilloso como siempre no lo quieren dar a ver, habla sobre las clases sociales y como se ve la gente, los ricos como unos dioses y los pobres como cucarachas

esta película fue ganadora de 29 premios oscar 

en mi opinion esta pelicula es muy buena al mostrar la realidad de las cosas aparte de que la trama es buena nunca deja que se aburra uno, es una pelicula unica digna de los premios ganados 

tambien me parecio algo muy interesante de la película la roca que se le regalo a la familia al principio de la película demuestra que en la cultura de corea del norte creen mucho en las supersticiones porque esa roca significa la prosperidad de la familia. 

según mi punto de vista del 1 al 10 le doy un 10 la recomiendo demasiado