Parasite by Bong Joon-ho and Neoliberalism, a Portrait of 21st Century Inequality Highlighted by The New York Times

Introduction

Bong Joon-ho's film "Parasite" left an unprecedented mark in the history of world cinema by winning the Palme d'Or at the Cannes Film Festival in 2019 and four Oscars at the Academy Awards in 2020. In June 2025, the influential American newspaper The New York Times selected this masterpiece as the number one among the "100 Best Films of the 21st Century," once again drawing attention to its social implications. The New York Times described "Parasite" as "a story of the haves and the have-nots, sharply exposing the horrors of neoliberalism." This interpretation goes beyond the artistic completeness of the film, suggesting that it serves as a "social prophecy" that accurately addresses the structural problems of the era. While "Parasite" originated in a specific space, South Korea, it possesses a universal narrative structure that resonates with audiences in any city around the world. This underscores the notion that the economic and social structures of our time are converging globally. The issues of inequality and class entrenchment illuminated by the film are not merely the "misfortunes of individuals" but are structural problems institutionalized and normalized under the name of neoliberalism. This essay analyzes the structural harms of neoliberalism visualized by "Parasite" and explores how the current Lee Jae-myung government is responding from a political and institutional philosophical standpoint. Examining how the state responds to the issues raised by culture will provide clues to how contemporary democracy can evolve beyond mere institutionalism towards a "politics of empathy and responsibility."

The Neoliberal Reality Revealed by 'Parasite'

"Parasite" is not simply a story about a poor family infiltrating a wealthy one. The film sharply illustrates how difficult class mobility is in the neoliberal era through spatial metaphors and sensory symbolism. A representative example is the 'semi-basement' space. The Kim family's semi-basement home is located between the ground and underground, but throughout the film, they continually fall toward the subterranean. This serves as a metaphor for the illusion of class mobility. Additionally, the film compellingly reveals the invisible boundaries between classes through sensory elements such as smell, rain, and water. The wealthy patriarch, Mr. Park, tells Mr. Kim that he smells of 'the underground,' which functions as a stigma that cannot be erased despite the Kim family’s attempts to change their clothes and renovate their bathroom. This illustrates the futility of 'self-improvement' demanded of the lower class in the neoliberal system, highlighting a world where 'no amount of effort will change anything.' Furthermore, the film reveals that the 'parasitic relationship' between the wealthy and the lower class is not one-sided. While the lower class is dependent on the affluent, the wealthy cannot sustain their lives without the labor of the lower class. Thus, the term parasitic can apply to everyone, regardless of status, suggesting that society as a whole is maintained by a 'parasitic structure.'

Violence and Catastrophe of Neoliberal Structure

The violent events that occur in the latter part of the movie should be interpreted not as simple accidental incidents, but as the sound of structural disintegration. The murder that erupts during the everyday scene of a birthday party is the result of accumulated repressed anger and despair, an explosion that is inevitable in a society where inequality is normalized. In particular, the moment when Mr. Kim stabs Director Park is not only a physical act of murder but also a symbolic scene of class rebellion. However, even that rebellion fails to change the social structure. Through the conclusion where Mr. Kim hides in an underground bunker, the film portrays the 'failure of class mobility' and 'a deeper immersion after the violence'. Mr. Kim's son devises a plan to rescue his father, but that plan cannot be realized in reality and instead returns to the realm of fantasies. In this way, "Parasite" contains a warning that class mobility in a neoliberal system is nearly impossible, and that violence may lead to a deeper isolation rather than overthrowing the system.

The Philosophy of the Lee Jae-myung Government: A State Recognizing the 'Structural Issues'

The problem that 'Parasite' highlights is not an individual issue but a structural one. Based on this understanding, the Lee Jae-myung administration is attempting to make structural changes through various institutional policies. The most critical policies are 'basic income' and 'basic loans.' While existing welfare policies were predicated on conditional payments, the Lee Jae-myung administration views human dignity as an 'unconditional right to survival' and asserts that the state will guarantee that foundation. In particular, the basic loan policy aims to provide practical assistance to the younger generation and the precarious labor class, functioning as a safety net against social 'class descent.' Additionally, policies aimed at restoring a fair market economy are also notable. Efforts to dismantle monopolistic structures and establish an economic order that protects small and medium-sized enterprises and small business owners can be seen as attempts to institutionally mitigate inequality. The state-led nurturing of new industries, such as digital transformation and the Green New Deal, aims not only for simple growth strategies but also for the creation of new jobs and the restoration of class mobility. Furthermore, the Lee Jae-myung administration is redefining the role of a strong state. Under the past neoliberal system, the state did not intervene in the market and shifted all responsibility to the private sector, but the Lee Jae-myung administration is pursuing policies based on the philosophy that the state should actively intervene in and protect citizens' lives. In particular, the focus is on enhancing the quality of life for individuals through respect for labor and guaranteed rights, as well as strengthening public healthcare and housing safety nets.

Mutual Reflection of Culture and Politics

"Parasite" serves as a mirror reflecting the realities of Korean society, while also acting as a warning to escape from those realities. The film does not merely critique but asks us in which direction we should move forward. The philosophy and policies of the Lee Jae-myung administration are attempts to respond practically to this question. The structure in which politics seeks to address issues diagnosed by culture is also a crucial standard for assessing the health of democracy. The New York Times selecting "Parasite" as the best film of the 21st century underscores that its message is universal and vividly reveals the structural inequalities faced by the international community. The national policy framework displayed by the Lee Jae-myung administration can be interpreted as a democratic responsibility that does not turn a blind eye to these structural issues but rather confronts and seeks institutional responses. Although culture and politics are distinct spheres, when they stand on a shared truth, they can lead to greater social transformation. The structure of suffering illuminated by "Parasite" is not just a story on screen but a reality that is currently unfolding. What is needed to change that reality is more stories and more concrete actions.

Conclusion

Parasite is not just a simple movie. It serves as a stark social warning about how humans fall into a state of worthlessness under a neoliberal system. The Lee Jae-myung government seeks to elevate this sense of awareness into policy and to accept structural inequality as a national responsibility. Basic income, fair economy, restoration of democracy, and the redefinition of a strong state's role are practical expressions of this. We are no longer living in an era where individual efforts alone are expected to take responsibility for life. Inequality is not the result of individual actions, and addressing it is the duty of the entire community. As one response to the questions posed by Parasite, the policies and philosophy of the Lee Jae-myung government stand at a starting point. Fixing the structure takes time and may sometimes involve resistance, but when the direction is clear, we can speak of hope. Culture reflects reality, and politics must become the force that changes that reality. Now is the time when these two forces meet.