Every now and then, I watch a movie that can be absolutely hilarious in one scene and then make you question why you’re laughing in the next. If that’s the kind thing that floats your boat, then you’re going to have a grand time here. This dark comedy-drama premiered in the Offical Competition section at the 71st Cannes Film Festival. It went on to win the prestigious Palme d’Or, making it the first Korean film to do so and the first one with a unanimous vote in 6 years. Although it was released in South Korea and other international territories in late May, Neon gave it a theatrical release in North America beginning October 18th, 2019. Made for the budget of roughly $11 million, it has thus far grossed over $127.4 million at the worldwide box office. This makes it one of the country’s highest-grossing features and it has the best-ever per-venue average for a foreign-language film. Directed by Bong Joon-ho, the idea for the film had been in his head for some time. He has repeatedly stated that he and co-writer Han Ji-won were inspired by several of Alfred Hitchcock’s films, incorporating some of his most common motifs. The house in the film was built completely from scratch by the production designers and was specifically designed to cast light in a certain way. Song Kang-ho stars as Kim Ki-taek, the patriarch of a low-income Korean family struggling to make ends meet. When all of them are on the verge of losing their jobs, the son Ki-woo, played by Choi Woo-shik, is bestowed a golden opportunity. Posing as a university student, he is hired as a tutor for the daughter of the wealthy Park family while his friend is studying abroad. As time goes along, each Kim family member slowly becomes ingratiated with the Parks, to the point where they barely recognize the life they’re living anymore. While I’ve admittedly yet to watch all of his films, I really like Bong Joon-ho’s filmography and personal style. He’s always able to blend the very absurd with the realistic in films like The Host and Okja, both of which are among the most underrated films of the century. Plus, his English-language debut Snowpiercer was actually one of the very first films I ever wrote a review for. Prior to actually seeing it, I had been advised by many sources to avoid all trailers and reviews for the film, only watching the trailer once during a screening for another film. Although I usually like learning about whatever film I’m about to watch, here, I decided it would probably be best to go in as cold as possible. And that decision has paid off in spades because Parasite isn’t only Bong Joon-ho’s best film to date, but it’s also now become one of my favorite foreign-language pictures of all time. Like many of the director’s other films, this movie is really about the intersection between class differences, capitalism, and circumstance in our modern world. Rather than giving an easy solution to income inequality, the film shows the nuance in a situation like this and throws unexpected curveballs now and again. The dichotomy in how the rich and the poor react to things so mundane as the rainfall is fascinating and a wonderful way to highlight the difference in their socioeconomic standings. And like I said at the beginning, Parasite is able to generate some laughs from uniquely hilarious moments. The first half of the movie plays out more like a dark comedy and just when the tone seems set in stone, it transforms into something much more sinister. The transition between moods is so seamless and one of the many reasons why this film works so well. Another reason why is Song Kang-ho, who, in his 4th collaboration with the director, gives an incredible lead performance. As Kim Ki-taek, he always has the best interest of his family at heart even if it comes at the expense of others. He’s very thoughtful and quiet, making any sudden outbursts he has feel completely surprising and intimidating. His two children, meanwhile, are both played by Choi Woo-shik and Park So-dam, who demonstrate immense range with their roles. Woo-shik acts kind of as the innocent, wide-eyed man who wants his family to benefit without harming the Parks. So-dam, meanwhile, is more a calculating mastermind who cares about her loved ones but is cynical about the rest of the world. Both of them bounce their ideas of deception off one another even if they disagree about how to go about it. Cho Yeo-jeong also definitely shouldn’t be overlooked as Yeon-gyo, the mother of the wealthy Park family. Although she means well and tries to treat those around her with kindness, it’s clear she is quite dim-witted and oblivious to the con being played. Her aloof attitude provides some of the biggest laughs in the film, and a welcome levity to the story. The rest of the supporting cast, while relatively small, bring a great sense of memorability to the film. This includes Lee Sun-kyun as the stern and stoic patriarch of the Park family, Lee Jung-eun as their loyal yet eccentric housekeeper, Chang Hyae-jin as the assertive mother of the Kims, and Park Seo-joon as a friend of the Kim son who sets them up in the first place. Each player works masterfully under the director’s guidance and finds a uniquely dramatic and comedic angle in every scene. And from a pure filmmaking perspective, Parasite finds Joon-ho working at the absolute peak of his powers. Hong Kyung-pyo’s cinematography is exquisitely detailed and mapped out in such a beautiful way in every scene. The camera movement and positioning are perfectly placed as they find the right amount of negative space for the action. It uses the lighting and production design to its advantage by always blocking the actors with precision. There’s a healthy amount of static wides throughout which equally help to create a sense of unnerving dread and deadpan humor. Yang Jin-mo’s editing job also does wonders for the structure and pacing of the film as it moves from one scene to another. No shot is ever too long or too short for its effect to take hold on audiences. The opening sequence perfectly sets up the characters and their environment, brilliantly showcasing their relevant surroundings. There are also a handful of mini-montages sprinkled throughout that showcase the gradual infiltration between the families. It really demonstrates how methodical and careful the Kims are with their plans. Jeong Jae-il provides the instrumental film score here, and although the Academy apparently disagrees, it’s one of the best of the year. The film opens with a solemn piano piece that immediately sets the mood and it only gets better from there. The soundtrack utilizes numerous different instruments to realize the attitude and position of the characters throughout. This includes plucked strings for more mischievous moments and a high-octave chorus to illustrate the more luxurious life of the Parks. The end credits also feature an original song called “Soju One Glass” written by Jae-il and sung by Choi Woo-shik. Although it starts off with a really mellow guitar melody, it soon shifts into something deceptively enticing. In that, it might just be the perfect tune to end the film on. With an excellent ensemble, tight direction, and one of the most biting screenplays in recent memory, Parasite is an utter masterclass on all filmmaking fronts with immense social consciousness. By tackling its subject matter head on but refusing to give easy answers, Bong Joon-ho has crafted not only of the year’s best films but also proven that he’s an artist that demands to be taken seriously. Its stunning and scathing critique of the effects of capitalism is absolutely incredible but also never forgets the specific cultural context. This also acts as a fantastic example of how to use the setting to help tell your story, and is honestly inspiring to me in this and many other ways.