Parasite ★★★★★

Lucky enough to catch the last screening of the Black and White cut. It was in the largest theater and it was practically empty. Heavenly experience.

This film enthralls me in a way I can’t explain. I’ve seen it in theaters five times now, which is a new record, and I notice something new every time.

The Black and White is interesting because Parasite was shot on the same camera as Roma (I believe) and so (while post production is important) it was interesting to compare the two’s use of black and white. All this reminds me that I need that Roma Criterion. Parasite’s Black and White makes it seem much more calm and ghostly in a way. It also feels a lot more classical and fable-y which makes the events of the film seem more tragic as they feel more inevitable. I think the greatest effects that the B&W has was on the ending. Without spoiling it, the ending felt somehow even more poetic and sad. The snow is calm but much colder. The colorful lights are gone and the world feels much more sharp. Not to mention the final shot packs a particular punch as it is drained of any reasonable hope. The Black and White cut really just makes the world of the film more immovable, sharper, and colder, which really just culminates in the movie feeling more sad. Sad sad sad. Have I said sad enough? It’s a wonderful film.



Black and White cuts of color movies are interesting as you notice and feel different things. Most particularly, editing and performances stand out more, but so does the (god forgive me) mise en scene. This is true in the Black and Chrome cut of Mad Max Fury Road, as well as Steven Soderberg’s fascinating B&W edit or Raiders of the Lost Ark. I haven’t watched Logan Noir yet, and I’m sure it’s great, but to be honest, I’ve been too afraid to watch Logan since theaters. That movie might have messed me up in a small but oddly specific way. Uh, thanks for reading my review of Parasite. That’s what this is.

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