Réalisation:
Joon-ho BongPhotographie:
Kyung-pyo HongMusique:
Jae-il JungActeurs·trices:
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 (plus)VOD (1)
Résumés(1)
Toute la famille de Ki-taek est au chômage, et s’intéresse fortement au train de vie de la richissime famille Park. Un jour, leur fils réussit à se faire recommander pour donner des cours particuliers d’anglais chez les Park. C’est le début d’un engrenage incontrôlable, dont personne ne sortira véritablement indemne... (The Jokers)
Critiques (23)
It's been a long time since I've come across a script as original as this film. Parasite is an inscrutable darkly humorous social satire, tinged with the thriller genre, which at the same time skillfully hits the tastes of contemporary audiences. To the resonant sounds of evocative music from the Far East, I have an unwavering feeling that once again entertainment has merged with art, which is not something you see every day in the world of cinema. I won't beat around the bush, I simply had a tremendous amount of fun, and I definitely won't stop at just one viewing. (95%)
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Un thriller imprévisible sur la collision de couches sociales, formellement et psychologiquement souveraines comme chez Kubrick. Bong Joon Ho est un maître de la réalisation cinématographique - depuis la caractérisation chirurgicalement précise des personnages pour les besoins de l'histoire, jusqu'à leur placement dans un environnement intéressant (qui deviendra presque son prochain personnage), jusqu'à la jonglerie imprévisible avec les principes et les rebondissements du genre, ou des ajouts métaphoriques qui appuient cette manigance souverainement construite avec des points d'interrogation stimulants. Il est peut-être le seul frère créatif de David Fincher, par ailleurs culturellement plus exotique, dépassant les standards du genre américain universel. Pour cela, bien sûr, la volonté du spectateur d'accepter une logique sensiblement différente de l'issue des conflits est nécessaire, là où je me suis retrouvé coincé - tout comme, par exemple, avec l'issue d'Old boy. La conclusion de l’histoire de Parasite m’a semblé invraisemblable, insuffisamment motivée, exacerbée principalement pour fournir une éventuelle profondeur et une clôture de la réflexion.
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Un mélange de genres amusant et passionnant signé Bong Joon-ho traitant d’une famille misérable mais rusée qui parvient à créer des liens avec l’élite locale. Or, ce qui commence comme une agréable comédie noire sur les magouilles permettant de se faire du pognon facilement devient progressivement un thriller assez périlleux dont le revirement de situation et le final radical ne vous laisseront pas de marbre. Tant que ce genre de films pourra légitimement gagner à Cannes, le monde des grands festivals ne sera pas complètement pourri. [KVIFF 2019]
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Une combinaison magistrale de thriller, de satire sociale et de comédie noire absurde. Ce film, d'une excellente qualité, est d'abord très drôle puis devient étonnamment captivant et glaçant. Il est incroyablement bien écrit, évoluant dans des directions inattendues avec des rebondissements scénaristiques parfaitement maîtrisés, et exprimant parfaitement les différences de classe dans la société ainsi que le style de vie de ses deux couches contrastées. Ce divertissement royal, intelligent et brillamment réalisé du début jusqu'à la fin, met en valeur le meilleur du réalisateur et scénariste Bong Joon-ho depuis Memories of Murder. Je recommande vivement de ne rien apprendre de plus sur ce film et de le voir dès que possible.
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Vu en deux fois – lors du weekend cinéma FilmBooster à Boskovice et, maintenant, lors d’une nouvelle tentative dans le cadre des fêtes de Noël en famille. Ludique, amusant, extrêmement qualitatif et porteur d’un fort message social en filigrane – autant d’ingrédients qui lui garantissaient le succès à Cannes.
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Dès lors que l’on abandonne la tentative de l’étiqueter, ce qui n’est d’ailleurs même pas possible, puisque Parasite a un peu de tout, le film est surtout la preuve qu’il est encore possible aujourd’hui de proposer un spectacle absolument nouveau, imprévisible, divertissant, émouvant et à certains moments même glacial et choquant. Bref, une montagne russe d’émotions, avec des coups de théâtre qui dépassent l’entendement. Vous n’oserez même pas deviner à quelle fin le film vous mènera. Pour moi, elle était douce-amère.
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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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(moins)
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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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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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The cult Czech one-liner "Don't be angry that I'm bothering you again, but I forgot to ask if you have a cellar. Do you have a cellar? And could I see it?" elaborated in the form of a feature film consisting in (by far not only) a thriller mixed with a black-humor class satire in which you never know what you can believe as a spectator. This could have easily ended up as an embarrassing mishmash (and this has happened to Bong Joon-Ho in the past), but it resulted in a scathing masterpiece that give the South Korean wave a second wind. Second wind? This is not a simple revival, but a full-fledged comeback in several respects.
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South Korea aspires for the film of the year with the most original idea of recent years. Bong Joon Ho, director of The Host, Okja and Snowpiercer, has another notch to his name that has rocked festivals and, in turn, the world. The story revolves around a poor but cunning family of four who will gradually infiltrate a rich family. The infiltration itself is very entertaining and intelligently presented and once the cards are dealt, the social drama crossed with comedy gives way to a thriller with a dense onslaught of unexpected twists and turns, a huge dose of suspense and a beautifully paced finale, where even the dead bodies are not in short supply. The director plays beautifully with genres so that they don't interfere with each other and add to that perfect acting performances, polished visuals and enough entertainment to keep the viewer's attention. Recommended. 90%
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In the field of social satire and black comedy, this is a one-hundred-percent success. In terms of other genres, it is at least ambitious and surprising at every turn. However, what I really enjoyed was not knowing where it could go or what direction it would take. Even now I can't decide whether the catharsis was bold or just excessive. As is customary in Korean hits, as the number of surprises increases, so do the moments with such a high WTF factor that the line between a smile and a raised eyebrow is almost blurred. However, Parasite has become embedded in me with its mood and aftershocks (especially thanks to the strength of the narrated ending), remaining true to its name quite effectively.
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Bong’s brilliance consists in the fact that he is able to approach a complexly caustic and, at the same time, excruciatingly empathetic image of society as an extremely rewarding film that draws the audience in with a suspensefully initiated and superbly escalating premise. And above that, it elicits amazement through its precise directing and the sophisticated staging and camerawork of the individual sequences.
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The Koreans pulled this off in all aspects. The humor that accompanies the film is edgy and the viewer easily gets caught up in the internal strife. Should we hate them or love them? Should we wish them well or condemn them? Either way, I haven't seen a script this masterful in a long time. The acting was superb, the cast was every bit as good, and the soundtrack bumped the experience up a notch. 5 stars.
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Unfortunately I can't go with the flow. I totally acknowledge that the film is well made. The cinematography was for me the best part of the whole movie. But the rest of it... tone deaf? Because I didn't find it funny. I don't like it when people get tricked like that, and here it escalated to unfortunate heights for my taste. Not to mention the ending, which was to be expected from a certain point on. I don't think it was anything innovative. I don't think it deserves so much attention, but the film obviously came at the right time in the right place. Mostly I also thought it was too long. It didn't feel like 132 minutes, it felt like three days. I guess I need to establish some sort of rapport with the characters, I need someone to at least be likeable; it didn't happen here. I couldn't even sympathize with them, nothing. Cold. Maybe it was meant to be, in which case it's a completely unsatisfying film for me. Great cinematography, good cast, but a totally cranky Ziza.
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Parasite feels like a relationship with an actress who brings her roles home. You never know who will come through your door in the evening. Bong Joon-ho's film starts as a genuine comedy that increasingly intertwines with social drama, and then without warning, it begins to ruthlessly settle the score with its heroes. Personally, I have counted six genres with which the director works and interestingly mixes them. If Bong Joon-ho could avoid the East Asian butchery, I would even flirt with giving the film five stars. In the past, I have written that if I have a fundamental problem with any globally recognized cinema, it is precisely South Korean cinema for its fascination with violence and its never-failing ability to shock with bizarre mental processes and the strange actions of its characters. Bong Joon-ho's piece managed to avoid this for the most part, and although his story about the widening gap between social classes is firmly rooted in local culture, the message is globally understandable. Bong Joon-ho deserves praise for being able to skillfully maneuver between the interests of various groups in the audience - it is entertaining, original, provocative, and not afraid to harshly show the vast differences in opportunities within an outwardly prosperous and efficiently managed society. I don't always agree with Bong Joon-ho and I consider his film Snowpiercer, where he also attempted a genre mix with a shallow message, to be a prime example of failure, but I can wholeheartedly recommend Parasite. Give the family of exemplary losers from the basement a chance, they will likely surprise you. Overall impression: 85%.
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With its amazing screenplay, Parasite is an entertaining and intelligent social probe that makes fun of class differences, while at other times chilling the blood. The genre transition from black comedy to an almost horror thriller is textbook filmmaking, building up the suspense with each new twist. Precise in terms of acting and very, very contemporary.
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A more exotic alternative to David Fincher’s films. Sophisticated, refined, precisely directed and staged. The most interesting and layered presentation of the clash of two different social classes in a long time, it's a shame that the first half is full of unpredictable quips and moments, while the second already has the classic boilerplate framing and unnecessarily pessimistic profiling of the main characters so that it will find its place with audiences who enjoy sophisticated but still conventional and digestible enough arthouse films.
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I am very, very happily surprised. I really didn't expect such a damn black combination of cynical comedy, thriller, and satirical drama. It's so stunningly written, with characters I still don't really know what to think of, and with amazingly funny moments that probably wouldn't be funny at all in another movie. The directorial playfulness is one hundred and ten percent – still a surprising, thoughtful, but not pretentious guilty pleasure.
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I could repeat what POMO has written. Bong Joon-ho has proven once again that surprising an unprepared viewer can be the sweetest satisfaction for a filmmaker, and also the easiest way to achieve cult status. But I was already prepared after the wave of enthusiastic responses and, though the ironically subversive narration worked on me very well and my prepared self enjoyed the development in the second half, the eagerness to shock and put together an intellectual puzzle with the unpredictably arranged motifs of the ending left me a little disappointed. Nevertheless, I appreciate the truly untraditional viewer experience that straddles the border of several well-known genres, whose tropes are bent over to the benefit of this precise filmmaker, who in many scenes is able to get the viewer exactly where he wants them. I’m really sorry that it missed me in the end. 85%
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Annonces