Parasite’s ending makes it one of the all-time great lonely movies

Recent articles

When Bong Joon-ho’s Parasite made Oscar history as the first non-English language movie to win Best Image, it felt like a triumph for the cinephiles who made the movie a vital beloved and a surprise arthouse hit. After a long theatrical run that built comprehensive word of mouth, Parasite is streaming specifically on Hulu. Which ways it’s heading out to millions of audiences who will have the ability to sign up with the discussion about Parasite’s skillful ending– the meaning of a motion picture conclusion that can’t be summarized as a “happy ending” or a “sad ending.” Rather, it’s a lonely ending.

[Ed. note: Significant spoilers ahead for Parasite, and for the movies Moonlight and Drive.]

In Parasite’s climax, the Kim family– daddy Ki-taek, mom Chung-sook, child Ki-jeong, and kid Ki-woo– participate in a house party for the young kid of their companies, the Parkfamily The event rapidly goes south, breaking down into a vibrant representation of class warfare. The shots that follow release the audience from the movie’s regularly installing stress, however leave some characters dead, and others to grieve. In the after-effects, Ki-woo recuperates, handles his sorrow, and deals with the authorities who are still looking for responses about what occurred that day.

The audience understands what Ki-woo soon discovers. Ki-taek run away the party for the just sensible location he might go– the surprise bunker in the Park familyhouse From there, he utilizes Morse code to send out a letter to his kid, though he never ever understands whether Ki-woo has actually seenit In the movie’s final scene, Ki-woo reacts to his daddy in a letter that plays out more as dream thanreality It’s his dreamy statement of the capitalistic dream– he envisions himself going to school, making a lot of money, and purchasing the Park house so he can release his daddy.

Parasite’s last scene acts like a separation with the audience. The occasions throughout the movie construct a relationship with the audience: we find out about the characters gradually, and construct a compassion for them, a mentally intimate connection. When Ki-woo searches for from his letter at the end, and informs his missing daddy, “So long,” his pang of solitude resonates completely with the audiences, who are being launched from his business in the exact same method.

The most likely result of the story: Ki-woo never ever obtains his goal, and his daddy lives out the rest of his days because bunker. It’s a picture-perfect last scene to liquidate a gut-wrenching, skillful piece of movie theater. Parasite’s ending works perfectly with the occasions sustained by its cast and the audience. When Ki-woo’s reads his letter to his daddy, it’s clear what’s coming: the end of the relationship the movie has built, and a final goodbye to a story that’s been fixed thematically, however still left open-ended.

Picture: Neon.

There are other movies with farewells as poignant as the one Bong crafts in Parasite. In Nicolas Winding Refn’s movie Drive, Ryan Gosling plays the role of the mystical Motorist, a specialist trip motorist functioning as a stuntman by day. He gets captured up in the problem surrounding his next-door neighbor Irene, her kid Benicio, and her other half, who owes the mob $40,000 he can’t pay. Out of compassion to Irene, Motorist uses to assist, however after the circumstance is fixed, he isn’t in a position to stick with her and continue developing their relationship. The final scene portrays him driving into the night, with the faintest tip of tears welling up in hiseyes The Motorist is neither bad nor great, neutral nor notable; he’s simply travelling through. Refn uses a romantically tinged scene of unrequited love. The motion picture isn’t about the criminal activities devoted, it’s about the short lived connection in between Motorist and Irene, and what they may have had together. The movie’s final scene is about letting that possibility go, leaving both of them lonely, and communicating their solitude on to the audience.

2016’s Best Image Oscar-winner, Berry Jenkins’ Moonlight, places its last scene in a comparable method. The story leading up to it does the psychological heavy lifting, so the last scene is simply a pointer that brings it all backhome The movie narrates 3 stages in the life of its main character, Chiron, from being a shy, withdrawn kid mentored by a considerate drug dealership to ending up being a dealership himself, total with a hard, street-smart outside. Moonlight’s last scene is as dreamy as Drive’s. A flashback shows Chiron as a kid on the beach, curtained in moonlight. He deals with and turns the video camera, a flicker in his eye. He’s built up a personality that’s let him endure abuse, harmful masculinity, and injury, and he’s led a mentally quelched life, however the movie culminates with him re-connecting with his first love. And the final minutes are a pointer that Chiron’s youth and innocence have not been lost, simply concealed, and awaiting a safe minute to emerge. It’s bittersweet, however still lonely, since it’s a minute where the door closes on the movie’s world, simply as that world was beginning to open into something soothing and warm.

It’s generally presumed that a movie’s ending needs to follow the psychological binary of unfortunate or pleased. Not every ending fits in such cool little bundles. And restricting our discussion about endings to one side or the other dampens the psychological intricacy of our cinematic experiences. Parasite’s ending, much like Drive’s or Moonlight’s, invokes the necessary solitude that their characters are withstanding, and leaves the audience to sit with those sensations. And in the procedure, they reveal the psychological power of solitude itself. Specifically now, amidst social distancing and the coronavirus pandemic, many individuals are having problem with those sensations. Movies like Parasite feel cathartic in the minute since they’re a pointer that even when we feel most alone, we’re sharing that sensation with other individuals. Even the loneliest people aren’t experiencing something special– in their seclusion, they’re getting in touch with other individuals sensation the exact same thing.

Gaming Ideology has affiliate collaborations. These do not affect editorial material, though Gaming Ideology might make commissions for items acquired by means of affiliate links. For more details, see our principles policy.

Neela Josh
Neela Josh
I work as the Content Writer for Gaming Ideology. I play Quake like professionally. I love to write about games and have been writing about them for two years.

Leave a Reply