Today Parasite overtook The Godfather as the highest-rated narrative feature film on Letterboxd. We examine what this means, and bring you the story of the birth of the #BongHive.

It’s Bong Joon-ho’s world and we’re just basement-dwelling in it. While there is still (at time of publication) just one one-thousandth of a point separating them, Bong’s Palme d’Or-winning Parasite has overtaken Francis Ford Coppola’s Oscar-winning The Godfather to become our highest-rated narrative feature.

In May, we pegged Parasite at number one in our round-up of the top ten Cannes premieres. By September, when we met up with Director Bong on the TIFF red carpet, Parasite was not only the highest-rated film of 2019, but of the decade. (“I’m very happy with that!” he told us.)

Look, art isn’t a competition—and this may be short-lived—but it’s as good a time as any to take stock of why Bong’s wild tale of the Kim and Park families is hitting so hard with film lovers worldwide. To do so, we’ve waded through your Parasite reviews (warning: mild spoilers below; further spoilers if you click the review links). And further below, member Ella Kemp recalls the very beginnings of the #BongHive .

Bong Joon-ho on set with actors Choi Woo-shik and Cho Yeo-jeong.

The Letterboxd community on Parasite

On the filmmaking technique:

“Parasite is structured like a hill: the first act is an incredible trek upward toward the light, toward riches, toward reclaiming a sense of humanity as defined by financial stability and self-reliance. There is joy, there is quirk, there is enough air to breathe to allow for laughter and mischief.

“But every hill must go down, and Parasite is an incredibly balanced, plotted, and paced descent downward into darkness. The horror doesn’t rely on shock value, but rather is built upon a slow-burning dread that is rooted in the tainted soil of class, society, and duty… Bong Joon-ho dresses this disease up in beautiful sets and empathetic framing (the camera doesn’t gawk, but perceives invisible connections and overt inequalities)—only to unravel it with deft hands.” —Tay

“Bong’s use of landscape, architecture, and space is simply arresting.” —Taylor Baker

“There is a clear and forceful guiding purpose behind the camera, and it shows. The dialogue is incredibly smart and the entire ensemble is brilliant, but the most beautiful work is perhaps done through visual language. Every single frame tells you exactly what you need to know while pulling you in to look for more—the stunning production design behind the sleek, clinical nature of one home and the cramped, gritty nature of the other sets up a playpen of contrasts for the actors and the script.” —Kevin Yang

On how to classify Parasite:

“Masterfully constructed and thoroughly compelling genre piece (effortlessly transitioning between familial drama, heist movie, satirical farce, subterranean horror) about the perverse and mutating symbiotic relationship of increasingly unequal, transactional class relationships, and who can and can’t afford to be oblivious about the severe, violent material/psychic toll of capitalist accumulation.” —Josh Lewis

“This is an excellent argument for the inherent weakness of genre categories. Seriously, what genre is this movie? It’s all of them and none of them. It’s just Parasite.” —Nick Wibert

“The director refers to his furious and fiendishly well-crafted new film as a ‘family tragicomedy’, but the best thing about Parasite is that it gives us permission to stop trying to sort his movies into any sort of pre-existing taxonomy—with Parasite, Bong finally becomes a genre unto himself.” —David Ehrlich

On the duality of the plot:

“There are houses on hills, and houses underground. There is plenty of sun, but it isn’t for everybody. There are people grateful to be slaves, and people unhappy to be served. There are systems that we are born into, and they create these lines that cannot be crossed. And we all dream of something better, but we’ve been living with these lines for so long that we’ve convinced ourselves that there really isn’t anything to be done.” —Philbert Dy

“The Parks are bafflingly naive and blissfully ignorant of the fact that their success and wealth is built off the backs of the invisible working class. This obliviousness and bewilderment to social and class inequities somehow make the Parks even more despicable than if they were to be pompous and arrogant about their privilege.

“This is not to say the Kims are made to be saints by virtue of the Parks’ ignorance. The Kims are relentless and conniving as they assimilate into the Park family, leeching off their wealth and privilege. But even as the Kims become increasingly convincing in their respective roles, the film questions whether they can truly fit within this higher class.” —Ethan

On how the film leaps geographical barriers:

“As a satire on social climbing and the aloofness of the upper class, it’s dead-on and has parallels to the American Dream that American viewers are unlikely to miss; as a dark comedy, it’s often laugh-aloud hilarious in its audacity; as a thriller, it has brilliantly executed moments of tension and surprises that genuinely caught me off guard; and as a drama about family dynamics, it has tender moments that stand out all the more because of how they’re juxtaposed with so much cynicism elsewhere in the film. Handling so many different tones is an immensely difficult balancing act, yet Bong handles all of it so skilfully that he makes it feel effortless.” —C. Roll

“One of the best things about it, I think, is the fact that I could honestly recommend it to anyone, even though I can’t even try to describe it to someone. One may think, due to the picture’s academic praise and the general public’s misconceptions about foreign cinema, that this is some slow, artsy film for snobby cinephiles, but it’s quite the contrary: it’s entertaining, engaging and accessible from start to finish.” —Pedro Machado



On the performative nature of image:

“A família pobre que se infiltra no espaço da família rica trata a encenação—a dissimulação, os novos papéis que cada um desempenha—como uma espécie de luta de classes travada no palco das aparências. Uma luta de classes que usa a potência da imagem e do drama (os personagens escrevem os seus textos e mudam a sua aparência para passar por outras pessoas) como uma forma de reapropriação da propriedade e dos valores alheios.

“A grande proposta de Parasite é reconhecer que a ideia do conhecimento, consequentemente a natureza financeira e moral desse conhecimento, não passa de uma questão de performance. No capitalismo imediatista de hoje fingir saber é mais importante do que de fato saber.” —Arthur Tuoto

(Translation: “The poor family that infiltrates the rich family space treats the performance—the concealment, the new roles each plays—as a kind of class struggle waged on the stage of appearances. A class struggle that uses the power of image and drama (characters write their stories and change their appearance to pass for other people) as a form of reappropriation of the property and values ​​of others.

“Parasite’s great proposal is to recognize that the idea of ​​knowledge, therefore the financial and moral nature of that knowledge, is a matter of performance. In today’s immediate capitalism, pretending to know is more important than actually knowing.”)

Things you’re noticing on re-watches:

“Min and Mr. Park are both seen as powerful figures deserving of respect, and the way they dismissively respond to an earnest question about whether they truly care for the people they’re supposed to tells us a lot about how powerful people think about not just the people below them, but everyone in their lives.” —Demi Adejuyigbe

“When I first saw the trailer and saw Song Kang-ho in a Native American headdress I was a little taken aback. But the execution of the ideas, that these rich people will siphon off of everything, whether it’s poor people or disenfranchised cultures all the way across the world just to make their son happy, without properly taking the time to understand that culture, is pretty brilliant. I noticed a lot more subtlety with that specific example this time around.” —London

“I only noticed it on the second viewing, but the film opens and closes on the same shot. Socks are drying on a rack hanging in the semi-basement by the window. The camera pans down to a hopeful Ki-Woo sitting on his bed… if the film shows anything, it might be that the ways we usually approach ‘solving’ poverty and ‘fixing’ the class struggle often just reinforce how things have been since the beginning.” —Houston

The birth of the #BongHive

London-based writer and Letterboxd member Ella Kemp attended Cannes for Culture Whisper, and was waiting in the Parasite queue with fellow writers Karen Han and Iana Murray when the hashtag #BongHive was born. Letterboxd editor Gemma Gracewood asked her to recall that day.

Take us back to the day that #BongHive sprang into life.

Ella Kemp: I’m so glad you asked. Picture the scene: we were in the queue to watch the world premiere of Bong Joon-ho’s Parasite at Cannes. It was toward the end of the festival; Once Upon a Time in Hollywood had already screened…

Can you describe for our members what those film festival queues are like?

The queues in Cannes are very precise, and very strict and categorized. When you’re attending the festival as press, there are a number of different tiers that you can be assigned—white tier, pink tier, blue tier or yellow tier—and that’s the queue you have to stay in. And depending on which tier you’re in, a certain number of tiers will get into the film before you, no matter how late they arrive. Now, yellow is the lowest tier and it is the tier I was in this year. But, you know, I didn’t get shut out of any films I tried to go into, so I don’t want to speak ill of being yellow!

So, spirits are still high in the yellow queue before going to see Parasite. I was with friends and colleagues Iana Murray [writer for GQ, i-D, Much Ado About Cinema, Little White Lies], Karen Han [New York Times, Vanity Fair, Vulture, The Atlantic] and Jake Cunningham [of the Curzon and Ghibliotheque podcasts] who were also very excited for the film. We queued quite early, because obviously if you’re at the start of a queue and only two yellow tier people get in, you want that to be you.

So we had some time to spare, and we’re all very ‘online’ people and the 45 minutes in that queue was no different. So we just started tweeting, as you do. We thought, ‘Oh we’re just gonna tweet some stuff and see if it catches on.’ It might not, but at least we could kill some time.

So we just started tweeting #BongHive . And not explaining it too much.

Within the realms of stan culture, I would argue that hashtags are more applicable to actors and musicians. Ariana Grande has her army of fans and they have their own hashtag. Justin Bieber has his, One Direction, all of them. But we thought, ‘You know who needs one and doesn’t have one right now? Bong Joon-ho.’

And so, you know, we tweeted it a couple of times, but I think what mattered the most was that there was no context, there was no logic, but there was consistency and insistence. So we tweeted it two or three times, and then the film started and we thought right, let’s see if this pays off. Because it could have been disappointing and we could have not wanted to be part of, you know, any kind of hype.

But, Parasite was Parasite. So we walked out of it and thought, ‘Oh yes, the #BongHive is alive and kicking.’



I think what was interesting was that it came at that point in the festival when enthusiasm dipped. Everyone was very tired, and we were really tired, which is why we were tweeting illogical things. It was late at night by the time we came out of that film. It was close to midnight and we should have gone to bed, probably.

Because, first world problems, it is exhausting watching five, six, seven films a day at a film festival, trying to find sustenance that’s not popcorn, and form logical thoughts around these works of art.

Yes! It was nice to have fun with something. But what happened next was [Parasite distributor] Neon clocked it and went, ‘Oh wait, there’s something we can do there’. And then they took it, and it flew into the world, and now the #BongHive is worldwide.

I love the formality of Korean language and the way that South Koreans speak of their elders with such respect. I enjoyed being on the red carpet at TIFF hearing the Korean media refer to Bong Joon-ho as ‘Director Bong’.

It’s what he deserves!

I like to imagine a world where it’s ‘Director Gerwig’, ‘Director Campion’, ‘Director Sciamma’…

Exactly.

Related content:

Ella Kemp’s review of Parasite for Culture Whisper.

Letterboxd list: The directors Bong Joon-ho would like you to watch next.

Our interview with Director Bong, in which he reveals just how many times he’s watched Alfred Hitchcock’s Psycho.

“I’m very awkward.” Bong Joon-ho’s first words following the standing ovation at Cannes for Parasite’s world premiere.

Karen Han interviews Director Bong for Polygon, with a particular interest in how he translated the film for non-Korean audiences. (Here’s Han’s original Parasite review out of Cannes; and here’s what happened when a translator asked her “Are you bong hive?” in front of the director.)

Haven’t seen Parasite yet? Here are the films recommended by Bong Joon-ho for you to watch in preparation.

With thanks to Matt Singer for the headline.