Parasite
Bong Joon - ho ’s much - laudedParasitehas a black - and - blank version , and it ’s like watching an entirely different picture show . In the calendar month since it released , Bong Joon - ho ’s masterful family drama has been savor a deal of success . Parasiteswept the 2020 Oscar , include a singular Best Picture profits ; there have beentalks of a HBO spin - off serial , and the film has received a makeover with a monochromatic variation too . It is , of course , the same moving-picture show that picked up plenty of acclaim towards the end of last twelvemonth . The only dispute is that this version has been dismantle of its people of color and the result is like catch a different motion picture only .
Parasitehas become the landmark of Bong Joon - ho ’s career thus far ; considering some of his other efforts includeOkjaandSnowpiercer , it say a lot about how much audiences love his latest . The film recount the write up of the Kims - a poor , disheveled family - as they infiltrate a wealthier household , an impressive mansion belonging to the Park family line . A lot of kudos was give way toBong Joon - ho ’s use of social comment inParasite , with the story acting as a captivating microcosm for capitalist economy . But the film was great in so many other regards as well - the performances , the themes , the way . One ofParasite ’s most memorable constituent was its beautiful filming and the utilisation of luscious coloring material to tot up grain to its story . by nature , a grim - and - white rendering seems baffling at first . However , Bong Joon - ho and cinematographer Hong Kyung - pyo did n’t just remove the vividness from the frames ; or else , they carefully regraded the whole film to work with its new monochrome aesthetic . Despite being the same film , the new colorization changes how audience will view the South Korean masterpiece .
Related : Why Parasite Won The 2020 Oscar For Best Picture
The black - and - snowy reading ofParasitefirst premiere at the Rotterdam film fete and has bask some time on the festival lap since . The flick follows in the footsteps ofMad Max : Fury RoadandLogan , which both received edition offering an altered semblance pallet after their initial releases . Just like those versions , stripping the color does n’t change the picture show itself but , or else , it refines the experience and allow for for a dissimilar perspective on a tale you otherwise would n’t get with color . The same can be said for the new rendering ofParasite , which offers audiences the opportunity to look at the film in a whole new lightness .
Parasite’s Black & White Version Changes How You Watch The Movie
Parasitein sinister & white offers a more focussed screening experience of the film . The reason for this is that much of the visual appeal has been strip away ; whilst the theoretical account and shots are still imposingly constructed , the want of color allows TV audience to expend less meter sop in the visual prayer and more sentence focusing on the rich portrayal and subliminal committal to writing . This , in turn , tender a more familiar experience with the Kim kinfolk . The monochromatic palette adds an intensity to the proceedings that elevates every scene , making their risky experimental condition feel even spoilt . It re - enforce the pitiful tone of life that they have when audiences first contact them tucked into their tiny apartment , with the black - and - white adding to the scuzzy , kitchen sink feeling of theKim category family . This is because the lack of colour forces the viewers to satiate in space with their minds ; seeing four reference cramp into a small , claustrophobic space makes audiences heighten the situation in their minds .
The same can be enounce when the narrative shifts focus into the Park mansion . Whilst some of the glamor and riches of the manor house is lost with the colour , it feels grander in its unmixed sizing . It becomes a monolithic entity as the colors blow over together which gives it a life of its own and makes it experience reasonably more intimidating than it already was before . The grain is exposit upon , so the uninfected surfaces palpate shinier and rich in the same way the Kim family ’s well over sewer depend even dirty . Bong Joon - hospoke about this when discussing the new cut withTHR , how"we can concentrate more on the texture " . It allows for more distinction and stress on each kinfolk ’s finical living situations - then adding to the overall intensity of the events that unfold .
The increased volume inParasitealso prolong into characterisation and performance ; Song Kang - ho ’s unbelievable turn as Kim Ki - taek , the father of the Kim family , abruptly feels more anguished . The locution become much more define as a result of the re - colorization . Mr. Park ’s disdain for his new employees is more prevalent . The unhappiness is enriched and the anger is heightened and you may feel a lot more of the emotion behind every character ’s eye . The dividing line between clothing is also furthered due to the added grain as already mentioned . Mr. Park ’s dress look neater and more high - quality than the tackiness of Kevin or Jessica ’s attire . Considering how much of the tale bank on this class clang , these added detail really make the disparity between the two families feel all the more defined . It push them even further asunder , making the message hit harder and more bewitching .
link up : Where To Watch The Cast Of Parasite In Other Movies & TV render
Because of how much more investing the narrative becomes , hearing are able to appreciate more of these subtlety . The script becomes so much rich as every word lingers that short fleck longer ; the gag are queer , the scourge are more pierce . study away the color almost removes a roadblock between interview and film and it ’s suddenly a much more involve experience - with viewers allowed the opportunity to really imbue in thesubtleties of Bong Joon - ho ’s writing and direction .
In his consultation withTHR , Bong Joon - horevealed that part of the decision behind the shameful - and - white version ofParasitewas to make his moving picture feel classic in nature . He said,“I think it may be vanity on my part , but when I think of the classics , they ’re all in bleak and lily-white . So I had this idea that if I plough my films into calamitous and white then they ’d become classic " . The original swing of the pic already feel so Hitchcockian in nature , with its machine and turns , and the desaturation only embellishes that estimation further - putting his film in the same echelon visually now as well as thematically . The comparison to classical cinema is liable ; people broadly speaking associate black - and - blank movies to Hollywood of old so seeing a blackened - and - livid film brings to mind classics the the likes of ofCasablancaorPsycho . It makesParasitefeel timeless , just like those moving picture are .
This also complement the themes of socio-economic class , wealthiness , family , and gentrification at the core ofParasitesuperbly , study they will always be timeless too . What is perhaps more obtrusive , however , is how root in the modern Earth the narrative is . The use of technology and speech sound and present-day computer architecture feel more large in this new cut ; it provides a striking contrast between previous and new that merge well with everything else the picture show has to say . In 10 eld , this thought of contemporary versus classic will still be relevant andParasite , through its black - and - white esthetic , encapsulates it well . GivenParasitequickly became so beloved and widely - seen , classical status is very plausible . Only time will truly severalize how much this is talk about in years to amount , though the monochromous look certainly goes a farsighted elbow room in making audiences feel like they ’re watch something refined and old - school .
Rewatching Parasite Reveals More Clues (& Is A Great Experience)
true , Parasitedoesn’t need a black - and - white version , in the same way thatLogan , Mad Max : Fury Road , or even Bong Joon - ho’sMother(which also got a standardized treatment ) do n’t need it . Cinematographer Hong Kyung - pyo ’s work is exceptional in the original cutting and the colors are impeccably enamor and should be admired . The photographic film is great as it is . However , for the reasons name already , there is a lot to be gained from learn the monochromatic take on the motion picture . Whilst it can take forth from some of the beauty , it ’s almost like watching a different cinema . There are many new observation to be made and the composition can almost be appreciated a lot more as well . More hint are acknowledge too : how Mr. Park does n’t like the sense of smell of Mr. Kim , and insidious teases of the humans in the cellar , all become more patent on rewatch . make out where the story is head , it ’s easier to see the breadcrumbsBong Joon - holays out .
Of course , the main ground the blackness - and - white adaptation ofParasiteworks as well as it does is because of the fact that you get the opportunity to watch Bong Joon - ho’sSouth Korean thrilleragain . It ’s one of the dependable dramas in some time . Parasiteis the rare film that becomes more rewarding the more you watch it ; Bong Joon - ho has carefully layer his cinema and there are unnumerable things to unpack from repetition viewings - in color or not . What the disastrous - and - white edition of the celluloid does offer is a prospect to revisit that not bad storey with its absorbing composition , characters , and composition through a whole young lens system to take out it all in a different manner . The narrative experience is the same - nothing has changed . That ’s the smasher ofParasitein pitch-dark - and - white;it may not be a young film , but the viewing experience will feel like it you ’re watch something different .
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