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Drama, black comedy, criminal thriller, science fiction, dystopias, apocalypse, monsters ... In their fusion of styles, the filmography of South Korean Bong Joon-ho has found a way of reflection and joyful spectacle, cinephile fetish, and critical admiration, by Reach of very few directors. That status, also the dissertation of common themes such as alienation and class struggle, now reaches a very stimulating peak in 'Parasite'. Never before have Joon-ho's turns been as ingenious as, ultimately, meaningful. As ironic as tragic. Unpredictable and at the same time plausible.

'Parasite' is the title of the film that won the coveted Palme d'Or at the last Cannes Film Festival. Its director, Bong Joon-Ho, is one of the leading exponents of the new Korean cinema. Having shown exceptional skills in handling suspense and intrigue in ‘Mother’ and ‘Memories of Murder’, with skilled handling of narrative time; flirting with the fantastic cinema with ‘Okja’ and ‘The Host’, he approaches black comedy in his latest film.

Parasite presents two Korean families of the same composition. Marriage with a son and a daughter. However, they belong to conflicting social strata. The growing inequality of developed societies finds an example in the opulence of one, compared to the poor condition of the other.

The offspring protagonist, like bedbugs after fumigation, leaves the catacombs of a shady house to overshadow the routine of another family, much wealthier. The fascination and the power that some exert on others will cause between the characters an inversion of roles and an invasion of spaces, with the basement as a literal and metaphorical place of a crudeísimo social order. All, creepy and capricious, subject to their regret to the designs of a script that, like life itself, is random. "The plan is that there is no plan," says the patriarch after a universal flood that will remind him of his nature. What he doesn't know is that, along the way, man, turned into an insect, has forgotten his condition of being human.

When by accident the precarious son begins to teach English to the daughter of the rich, an interaction opens that Bong Joon-Ho administers with self-confidence. The portrait of the characters takes elements of the best comic surrealism.

This movie opens the doors of paradise in the form of carefree candor, the tricks of those who lack everything will enter the scene like an elephant in a pottery shop. The roughness of the tricks used to justify their validity, due to the disconnection with reality of a privileged class that lives with its back to its surroundings. Here ‘Parasite’ makes a very critical critique of today's world.

The outcome comes out of the conventional. There is already a train crash in which damage control will be difficult to manage. There is a beautiful allegory in the events that take place in the basement of the mansion, with all its miseries, while the party continues in the rest of the dependencies. An up and down constantly faced. Near and far at the same time.

The dissection that ‘Parasite’ makes of its time leaves ingredients for the memory, despite some caricatural reiteration in which its creator finds a creation.

We miss the author who has left posing disturbing atmospheres. On this occasion, the enjoyment will come from the other side. In any case, the final invoices the maturity of a solvent creator, to whom glory has come with a work that is not the best of his filmography.

Parasite achieves its goal of showing us both sides of very different social populations, it has a very sharp social criticism that makes us reflect a little about how unbalanced our world is.