Parasite

Park Dong-ik, the head of the Park family, is set as a private actor in the capitalist economic system. The film aims to show the division between the rich and the poor while incorporating thriller comedic elements to make 'Parasite' identify as a cinematic film. 'Parasite' shows the race for economic growth as the struggling Kims want the life of the wealthy the Parks. 

An exciting way to look at the structure of 'Parasite' is to pull back the curtain on the subject of the contemporary religion of capitalism. Minjung Noh, the author of 'Parasite As Parable' writes, "Instead, capitalism as an agent of disenchantment is what propels the actions of the characters" (Noh 250). Noh notes, "It is evident that utilitarianism derived from capitalism is a firmly shared worldview of the characters: after all, it is all about money" (Noh 250). The author also references German philosopher Walter Benjamin's claim that capitalism is a religion and a cult with its own ethics and morals. Benjamin says capitalism is a "misenchantment, a parody or perversion of our longing for a sacramental way of being in the world" (Noh 251). For the audience, it's easy to sympathize with the Kims' crime plan as we see them at the bottom of society, having a window in their apartment that looks at the bottom half of civilians walking by. 

The word utilitarianism as the audience should justify Kim's devious plan because they need it. The actions of the Kims are carefully constructed to end up working for the same family under the Parks, who are the primary controllers of this plot. The dynamics in Parasite amplify the disconnect between the wealthy and the poor as when the Parks go on a camping trip, the Kims unravel in gluttony with food and alcohol. Even more disconnect from reality shows when the old maid Moon-gwang returns because she needs to feed her husband Guen-Se, who's hiding from debt collectors in a bunker right under Park's nose. 

Bong Joon-Ho's editing techniques define a sense of space in the Park's house. Showcasing the modern interior, vast ceilings, and useless space it is shown through the lens with wide shots. To display the divide amongst the families, lighting in the Kims' home is only given through the window or a single light bulb, forcing the characters to gather close and rely on sunlight. At the same time, the parks have beautiful ambient lighting in every room. Then, there is a sense of feeling scrunched in when the scenes of the Kims living a few feet from death, skipping the moral steps to climb out of poverty but instead exhibiting human greed.