Is a jet black satire of class conflict and wealth inequality; a leech which hungrily sucks until it has no choice but to explode and spray blood everywhere.
It follows the wealthy Park family as their beautiful glass box of a house is slowly infiltrated as the poor Kim family trick their gullible counterparts into giving them jobs in their home. 'Act like you own the place' goes the film's tagline, and we see this play out as the Kim's greed takes over, allowing them no way out until it's too late.
We reach the crescendo of the film when the Park family go on a camping trip and the Kim family let the former housekeeper Moon-gwang into the house, discovering that her husband Geun-se has been living in the basement to hide from loan sharks who are after him. The situation escalates after the couple discover the Kim family have also been conning the Park family by pretending to be strangers rather than one family. In their scramble to straighten the house up before the Parks arrive home, Moon-gwang is injured after falling down the stairs.
Beef Ending Explained
The following day, at the Park son's birthday party, a grief-maddened Geun-se escapes from the basement, bludgeons Kim Ki-woo and kills his sister Ki-jung. The Kim family patriarch then reacts to the Park family father recoiling at the “poor man’s smell” of Geun-se by killing him then escaping.
After his son Kim Ki-woo awakens in hospital, he returns to the house to see a light flashing, remembering how Geun-se used to use it to send Morse code signals from the basement. He translates the flashes into a letter from his father in which he details his escape and how he found shelter in the Park's basement. Kim Ki-woo then works until he can buy the house for himself and be reunited with his father, the idea that all Mr Kim will have to do is walk up the stairs and into the sun gives
We then cut to Kim Ki-woo still in the basement of the run-down house, the naive idea that he could work his way out of his class imprisonment suddenly as foolish as the Park family inviting strangers into their home.
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In reference to the ending, referring to a Korean phrase for a gunshot that makes sure someone is definitely dead. Here what is definitely dead is the hope that a bad hand in life can be overturned, or that the constraints of class can be broken out of. This hope can both sustain and torture us, but Joon-Ho exposes it as a lie.
He continues: “Maybe if the movie ended where they hug and fades out, the audience can imagine, ‘Oh, it’s impossible to buy that house, ’ but the camera goes down to that half-basement, ” he says. “It’s quite cruel and sad, but I thought it was being real and honest with the audience.
Know — we all know that this kid isn’t going to be able to buy that house. I just felt that frankness was right for the film, even though it’s sad.”
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The closing moments of the film hark back to the the opening where we saw the Kim family in their cramped, damp basement which feels like a prison. What has transpired since allowed them to, albeit briefly, escape, but now those that are left are trapped back there again. Joon-Ho has called the film his “stairway movie”, meaning that the film gives us all of the different steps of class aspiration and shows us how, for some people, trying to climb to the top only results in you being kicked down to the bottom again. In the same way that the couple living in the Park family's basement are trapped below them and only want to be able to walk up the stairs, the Kim family look up at street-level to where they want to rise to.
In letting Kim Ki-woo narrate his rise up the stairway, only to throw him back down it again, Joon-Ho is dashing our hopes that he has escaped from the basement as we watch reality come crashing down. While the film encourages us to judge the materialistic and gullible Park family, it doesn't allow us the the fairytale of seeing the villains overthrown. When the Parks leave the magisterial glass house, it won't be the Kims that claim it, but a German equivalent of the Park family. There is a circle protecting the wealthy that loops forevermore.
This level of frankness with the audience is a deadpan moment which pulls you out of the comical farce you have been watching unravel. Here is the wretched statement the film has been slowly but surely worming its way toward, and the director is being honest with the audience in a way that feels unbearably real after we have been allowed to get our imaginations go wild. “There are people who are fighting hard to change society. I like those people, and I’m always rooting for them, but making the audience feel something naked and raw is one of the greatest powers of cinema, ” Joon-Ho says.
The Ending Of Parasite, Explained
Gives its most gnawing and lasting feeling, reminding us that the amusing trickery and funny dialogue have been distracting us from this sad truth. Kim Ki-woo returning to the house as its owner would be a dreamlike way to end
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Parasite Ending, Explained
All of the Best-Dressed Guests from the Oscars Oscars Goodie Bags Inspired the Age of Influencers At This Year's Oscars, Trump Is Still Everywhere Who Should (and Will) Win the 2021 OscarsEnding Explained is a recurring series in which we explore the finales, secrets, and themes of interesting movies and shows, both new and old. In this entry, we dive into the Parasite ending.
So, you finally saw Parasite. All 132 glorious minutes of Bong Joon-ho‘s Oscar-winning work of tragicomic genius. Let’s discuss that ending already.
First, a quick recap: the razor-sharp class commentary tells the story of the financially struggling Kim family — mom and dad Chung-suk and Ki-taek (Jang Hye-jin and Song Kang-ho) and kids Ki-woo and Ki-jung (Choi Woo-shik and Park So-dam) — who one by one infiltrate the domestic staff of the wealthy Park family, eliminating all obstacles in their path, including the Parks’ former housekeeper, Moon-gwang (Lee Jung-eun).
Parasite Ending Explained Bong Joon Ho Explains The Final Scene
When the fired Moon-gwang returns to the house one night, she discovers the Kims’ secret and they discover that she has one of her own: her husband, Oh Geun-sae (Park Myung-hoon) has been hiding from loan sharks in the house’s basement bunker for years. In the desperate struggle to keep their respective secrets from the Parks, Chung-suk kicks Moon-gwang down the bunker stairs, killing her.
The next day, young Park Da-song’s (Jung Hyeon-jun) backyard birthday party turns into a blood bath when Geun-sae, mad with grief, escapes from the bunker on a quest for vengeance, knocking Ki-woo unconscious in the process. Geun-sae kills Ki-jung, Chung-suk kills Geun-sae, and Ki-taek turns around and kills Park patriarch Dong-ik (Jung Ji-so) as party guests flee in terror.
Ki-woo ultimately recovers from his injuries but is convicted of fraud, along with Chung-suk, while Ki-taek hides from the authorities in the Park family bunker. The film ends with Ki-woo making a plan to become rich and buy the Park house himself so that the surviving Kims can be reunited. But does that dream come true?
Parasite Movie Ending Explained: What Happened To The Kim Family?
Is that certain things, like the specifics behind Ki-taek’s decision to stab Dong-ik, are very much open to interpretation (I’ve written an article about one particular way of considering it through the lens of parasitism and host-parasite relationships). That said, there are certain key takeaways heavily emphasized via subtext, all of which can be collectively summarized in the following message:
Features three families: the Parks, the Kims, and the Ohs — upstairs, downstairs, and sub-basement. All are basically decent people who consistently act in what they consider to be the best interest of their family, but by the end, the Parks have lost a father, the Kims have lost a father (effectively) and a daughter, and both Ohs are dead thanks to a series of events set in motion by the Kims’ desire to better their circumstances.
While nobody makes it out unscathed, it is those who started off with the least who suffer the worst, and those who started off with the most who take the mildest blow in comparison. What the Parks’ money and status give them and them alone is mobility. They have freedoms the other families do not have, and when the dust settles, they alone have the freedom to move out of their house-turned-crime-scene, and move on with their lives. The Kims and the Ohs are stuck — in a bunker, in a semi-basement flat,
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