Realização:
Joon-ho BongCâmara:
Kyung-pyo HongMúsica:
Jae-il JungElenco:
Kang-ho Song, Sun-kyun Lee, Yeo-jeong Jo, Hye-jin Jang, Woo-shik Choi, So-dam Park, Seung-min Hyeon, Hyun-jun Jung, Myeong-hoon Park, Keun-rok Park (mais)Sinopses(1)
Ki-taek tem uma família unida, mas estão todos desempregados e as suas perspectivas futuras são negras. O filho Ki-woo é recomendado por um amigo – que frequenta uma prestigiosa universidade – para dar explicações bem pagas, o que vem desencadear a esperança de um rendimento regular na família. Portador das expectativas familiares, Ki-woo dirige-se à casa dos Park para uma entrevista de trabalho. Chegado à casa do Sr Park – dono de uma empresa global de tecnologia informática – Ki-woo conhece Yeon-kyo, a bela e jovem dona da casa. Este primeiro encontro entre as duas famílias vai provocar uma imparável cadeia de incidentes. (Alambique Filmes)
(mais)Vídeos (5)
Críticas (23)
Uma combinação magistral de thriller, sátira social e comédia negra absurda. Brilhantemente ritmado, inicialmente muito engraçado e mais tarde surpreendentemente suspenso e arrepiante, o filme é maravilhosamente escrito, evoluindo em direções inesperadas através de reviravoltas insuspeitas do enredo e comentando perfeitamente as diferenças de classe na sociedade e os estilos de vida das suas duas classes contrastantes. Inteligente e brilhantemente dirigido, isto é entretenimento real do princípio ao fim, com o realizador e argumentista Bong Joon-ho na sua melhor forma desde Memories of Murder. Recomendo definitivamente que não descubram mais nada sobre o filme e que o vejam logo que possam.
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Um thriller imprevisível sobre a colisão de classes sociais, formal e psicologicamente soberano como Kubrick. Bong Joon-Ho é um mestre da direção de filmes — desde a caracterização cirurgicamente precisa dos personagens para os fins da história, até à sua colocação num cenário fascinante (que quase se torna outra personagem sua), ao seu imprevisível malabarismo de princípios de género e reviravoltas, às inserções metafóricas que ligam toda a ficção liderada soberanamente, a pontos de interrogação provocadores de pensamento. É talvez o único irmão criativo de David Fincher, e culturalmente mais exótico, transcendendo os padrões do género universal americano. Mas, claro, isso também requer a vontade do espetador de aceitar uma lógica distintamente diferente de resolução de conflitos, e é aqui onde — como, digamos, no caso do desenlace de Oldboy, por exemplo — fiquei preso. Achei a conclusão da história de Parasitas pouco provável, insuficientemente justificada, uma escalada de primeiro plano puramente para acrescentar um pouco de profundidade e um pouco de encerramento do pensamento.
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In Parasite, the South Koreans twist human emotions and create a premise just as absurd and obscure as when Rammstein were singing about that Austrian guy who kidnapped Natascha Kampusch and held her in his cellar for more than ten years. Moreover, they do it with dangerously dark humor, which I don’t even know whether it’s funny at all, because it makes me gape at the screen rather than laugh. In the context of South Korean cinematography, however, this is a unique gem that has no match.
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In dealing with popular genres, Parasite is more perfidious than the crime film Memories of Murder, the monster movie The Host and the postapocalyptic sci-fi flick Snowpiercer. Its narrative is not pieced together by conventions of a single genre that Bong would modify or refuse to comply with. Rather, it changes solely based on how the characters see and react to certain situations. Unlike in ordinary genre films, evil is not concentrated in a particular monster or villain, but manifests itself in the actions to which the protagonists resort in an effort to gain and maintain a certain social status. Predatory capitalism is the real antagonist. In the film, it is an invisible force that strengthens people’s desire to live someone else’s life. ___ The entire plot is derived from a particular social reality and the relationships between members of various classes of society, who are trying to game the system or defend the positions that they have achieved. Due to the rules that have been put in place, however, it is not possible to do either fairly. Reaching the top requires self-denial and crossing numerous boundaries. Disrespecting and breaching those boundaries comprise the dominant formal strategy and the film’s central metaphor. The rich live thanks to the hard work, blood and sweat of the poor, while the poor parasitise those who live in even deeper poverty in order to scratch out a living. They simultaneously need and hate each other. The space of clearly defined boundaries, the crossing of which will have unfortunate consequences, is an expansive modern house which from the outside represents a dream space for the protagonists. Its location on a hill contrasts with the central quartet’s modest home crouching below street level. Although the claustrophobically cramped interiors contribute to the fact that the destitute family sticks together more, they offer incomparably less comfort than the spacious rooms of the villa, whose inhabitants are spatially and emotionally more distant. ___ Though Parasite verges on farse through most of its runtime, in the end we perceive most of the characters rather as tragic victims of social stratification and economic injustice. The protagonists’ successes no longer bring comic catharsis, but vacillation as to whether the denial of one’s own individuality can be legitimised by the effort to maintain one’s position in the system. Amusement alternates with worries, compassion and a sense of injustice. Bong achieves this by altering the rhythm of the narrative and through skilful changes of perspective that redirect our sympathies. In the end, the tones of the individual characters’ stories are so incompatible that a reversal occurs and instead of a mere game of conquering the Wild West, there is a real and bloody breaking down of the boundaries between fiction and reality, civilisation and wilderness. The film involves not only a clash of different classes and ways of relating to the world, but also a blending of horror, black comedy and melodrama. The mastery with which Bong combines these seemingly incongruent elements into a consistently entertaining whole, in which every cut and movement of the camera is calculated with Hitchcockian precision, offers the most convincing argument against doubts as to whether a similarly “viewer-friendly” film deserved the Palme d’Or at Cannes. 90%
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Basically, without objections. Very viewer-friendly, very entertaining, but also very bold and relevant. Exactly the type of film that makes me like films, while also proof that entertainment and art aren’t opposites. It’s so perfect that it couldn’t be ignored even by the jury at Cannes, who mostly overrate other types of films. #KVIFF2019
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