Parasite 寄生虫
评分：4星
作者：Brian Tallerico
来源：RogerEbert.com https://www.rogerebert.com/reviews/parasite-movie-review-2019
译者：不恃
It’s so clichéd at this point in the critical conversation during the hot take season of festivals to say, “You’ve never seen a movie quite like X.” Such a statement has become overused to such a degree that it’s impossible to be taken seriously, like how too many major new movies are gifted the m-word: masterpiece. So how do critics convey when a film truly is unexpectedly, brilliantly unpredictable in ways that feel revelatory? And what do we do when we see an actual “masterpiece” in this era of critics crying wolf? Especially one with so many twists and turns that the best writing about it will be long after spoiler warnings aren’t needed? I’ll do my best because Bong Joon-ho’s “Parasite” is unquestionably one of the best films of the year. Just trust me on this one.
在这个电影热拍季各种的交谈中，说“你从来没看过像X这样的电影。”已经是种陈词滥调了。这样的说法已经被用得太多以至于到了没人会认真对待的程度，就像已经有太多主流的新电影被赞誉为：杰作。所以当一部真正出乎意料，让人难以预料到的电影出现时，影评人们是如何传达这种如获天启般的感受的呢？在这个电影批评家们很容易“谎报军情”的时代，当我们真的遇到了好作品的时候又该怎么做呢？尤其对于一部有这么多曲折和反转的电影，难道对它最好的描述除了剧透之外就无话可说了吗？我会尽我所能来介绍这部电影，因为奉俊昊的“寄生虫”毫无疑问是今年最好电影之一。关于这一点请务必相信我。
Bong has made several films about class (including "Snowpiercer" and "Okja"), but “Parasite” may be his most daring examination of the structural inequity that has come to define the world. It is a tonal juggling act that first feels like a satire—a comedy of manners that bounces a group of lovable con artists off a very wealthy family of awkward eccentrics. And then Bong takes a hard right turn that asks us what we’re watching and sends us hurtling to bloodshed. Can the poor really just step into the world of the rich? The second half of “Parasite” is one of the most daring things I’ve seen in years narratively. The film constantly threatens to come apart—to take one convoluted turn too many in ways that sink the project—but Bong holds it all together, and the result is breathtaking.
奉俊昊已经拍摄了多部关于阶级的电影（包括“雪国列车”和“玉子”），但是“寄生虫”可能是他对于社会结构不平等问题最大胆的一次拷问，甚至可以说定义了世界性的标准。这是一次在基调上用尽心思的尝试，乍一看像是讽刺剧——一部关于一伙挺可爱的骗子如何将一个富裕家庭从令人尴尬的古怪气氛中“分离”出去的喜剧。然后导演笔锋一转，开始质问观众，我们到底在看什么？并且让我们陷入尖锐的冲突之中。贫穷的人真的有可能踏入富人的世界吗？“寄生虫”的后半段是我多年来看到的最大胆的故事之一。这部电影很多次都在分崩离析的边缘——出现了太多次反转以至于快要淹没主题——但是奉俊昊导演把它们粘合成了一个整体，最后的效果是令人震撼的。
Kim Ki-woo (Choi Woo-sik) and his family live on the edge of poverty. They fold pizza boxes for a delivery company to make some cash, steal wi-fi from the coffee shop nearby, and leave the windows open when the neighborhood is being fumigated to deal with their own infestation. Kim Ki-woo’s life changes when a friend offers to recommend him as an English tutor for a girl he’s been working with as the friend has to go out of the country for a while. The friend is in love with the young girl and doesn’t want another tutor “slavering” over her. Why he trusts Kim Ki-woo given what we know and learn about him is a valid question.
金基宇（崔宇植）和他的家人生活在贫困线边缘。他们为一家外卖公司折快递盒来赚一些零钱，从附近的咖啡店蹭wi-fi，并且在街上有人用烟雾消毒的时候打开自家的窗户，只为了免费给家里驱虫。金基宇生活中转折点出现在他的一个朋友给他提供了一份给一个女孩子当英语家教的工作的时候，那个朋友需要出国一段时间，而且他喜欢那个女孩，不想让别的家教“染指”那个女学生。考虑到我们对基宇的了解，那朋友为什么会信任他确实是个值得思考的问题。
The young man changes his name to Kevin and begins tutoring Park Da-hye (Jung Ziso), who immediately falls for him, of course. Kevin has a much deeper plan. He’s going to get his whole family into this house. He quickly convinces the mother Yeon-kyo, the excellent Jo Yeo-jeong, that the son of the house needs an art tutor, which allows Kevin’s sister “Jessica” (Park So-dam) to enter the picture. Before long, mom and dad are in the Park house too, and it seems like everything is going perfectly for the Kim family. The Parks seem to be happy too. And then everything changes.
金基宇以英语老师Kevin这个身份开始教朴多蕙（郑知晓饰），这女孩没过多久就喜欢上了他。Kevin有更长远的计划，他要把他全家人都带入这个家庭。他很快就说服了女孩的妈妈朴太太，她优秀的儿子朴多颂需要一个艺术老师，这就让Kevin的妹妹“Jessica”（朴素丹饰）顺利进入了这一美好图景。不久，金家的爸爸妈妈也获得了这个豪宅的入场券，对于金氏一家来说，一切似乎在都完美地朝前推进。朴氏夫妇一家似乎也很满意。然而接下来，一切都改变了。
The script for “Parasite” will get a ton of attention as it’s one of those clever twisting and turning tales for which the screenwriter gets the most credit (Bong and Han Jin-won, in this case), but this is very much an exercise in visual language that reaffirms Bong as a master. Working with the incredible cinematographer Kyung-pyo Hong (“Burning,” “Snowpiercer”) and an A-list design team, Bong's film is captivating with every single composition. The clean, empty spaces of the Park home contrasted against the tight quarters of the Kim living arrangement isn’t just symbolic, it’s visually stimulating without ever calling attention to itself. And there’s a reason the Kim apartment is halfway underground—they’re caught between worlds, stuck in the growing chasm between the haves and the have nots.
“寄生虫”的剧本会吸引很多目光，因为它是那种有着让编剧最能获得声誉的机智曲折和精彩反转的故事之一（对这部剧来说，就是奉俊昊和韩进元），但这在视觉语言的表达上是一个很大的挑战，这一事实也再次证明了奉俊昊是一个电影大师。和技术高超的摄影师洪坰杓（代表作“燃烧”，“雪国列车”）还有一流的设计团队一起工作，奉俊昊电影中的每个成分都足够吸引人。那座豪宅里整洁、开阔的空间和金家狭窄拥挤的住所之间的对比不仅仅是个象征，它也在静默无声中给观众造成视觉上的冲击。之所以把金家公寓设计成半地下室的形式，是在暗示他们被夹在两个世界之间，困于贫乏和富裕的巨大鸿沟之中。
"Parasite" is a marvelously entertaining film in terms of narrative, but there’s also so much going on underneath about how the rich use the poor to survive in ways that I can’t completely spoil here (the best writing about this movie will likely come after it’s released). Suffice to say, the wealthy in any country survive on the labor of the poor, whether it’s the housekeepers, tutors, and drivers they employ, or something much darker. Kim's family will be reminded of that chasm and the cruelty of inequity in ways you couldn’t possibly predict.
就故事叙述来说，“寄生虫”一部妙趣横生的电影，但是它的背后也暗藏了很多关于有钱人如何利用穷人让自己生活得更好的内容，具体的利用方式我在此不能剧透（关于这部剧最好的评论可能会在它放映之后出现）。可以说，这个国家的富裕阶层依靠贫苦大众的劳动生存，不管他们需要雇佣的是管家、家教还是司机，或是另一些更卑微的角色。金氏一家将会以他们无法预测的方式看到两个阶级之间的巨大裂隙和那种不公平的残忍程度。
The social commentary of "Parasite" leads to chaos, but it never feels like a didactic message movie. It is somehow, and I’m still not even really sure how, both joyous and depressing at the same time. Stick with me here. "Parasite" is so perfectly calibrated that there’s joy to be had in just experiencing every confident frame of it, but then that’s tempered by thinking about what Bong is unpacking here and saying about society, especially with the perfect, absolutely haunting final scenes. It’s a conversation starter in ways we only get a few times a year, and further reminder that Bong Joon-ho is one of the best filmmakers working today. You’ve never seen a movie quite like “Parasite.” Dammit. I tried to avoid it. This time it's true.
对“寄生虫”的社会评论引起了争论，但它完全没有让人感觉像一部说教型的电影。它通过一种我现在都还无法描述的方式，把欢乐气氛和压抑致郁同时展现出来。相信我，“寄生虫”贡献了一个完美的标准，从电影结构的每一部分都能感受到欢乐，但是只要想到实际上奉俊昊为我们展现的内容和他对社会的“呐喊”，尤其是通过令人难以忘怀的结束场景所表达的内涵，那种轻松的情绪就会被稀释。这是一年中难得的话题引爆点，并且也进一步证明奉俊昊是目前在拍电影的人中最卓越的导演之一。你绝对没看过一部像“寄生虫”那样的电影。见鬼，我已经很努力在避免这种说法了。但这次，我是认真的！
This review was filed from the Toronto International Film Festival on September 7th.
本评论引用自9月27日的多伦多国际电影节
—— 不恃读影评，如有纰漏，敬请指教。
作者简介：
Brian Tallerico is the Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also the Editor of Magill's Cinema Annual, a writer for The New York Times, Vulture, The AV Club, and Rolling Stone, and the President of the Chicago Film Critics Association.
Brian Tallerico是RogerEbert.com的编辑，并且也涉足电视、电影、蓝光光碟和视频游戏领域。他也是Magill's年度电影的编辑，纽约时报，秃鹰、AV俱乐部和滚石的作者，同时也担任芝加哥电影评论协会的主席一职。
