Editing - 750 Word Description

The final editing sequence involves the son dreaming of a future where he can buy the Park’s family house and reunite with his father who was left behind in the basement to suffer. This creates intense enigma as the audience wonder if this is really ever going to happen due to the scenes cutting back to him writing a letter to his dad. The voiceover (non-diegetic sound) of the son while he writes his heartfelt letter to his father (birds eye view) plays over the fast forward of his life to where he owns the Park’s house and can set his lone father free. At about 40 sec in the clip, he stands there pondering upon his actions, thinking is it the right thing to do, should he buy this house?  This final moment in the film, in which he envisions his family’s upward mobility, is edited in a way that highlights both the dream-like quality of this sequence and the underlying hopelessness that it represents. In contrast to the previous sequences, the editing here slows even further, emphasising the dreamy, surreal quality of his fantasy. The shots are clean and symmetrical, and the transitions between the fantasy and reality are seamless, using smooth fades and match cuts to blur the line between his imagination and his grim reality. The bunker itself is a space of secrecy. It is both a literal and metaphorical representation of the class divide. The use of slower, deliberate editing here contrasts with the high tension of earlier scenes, signalling a shift in tone from action to a more reflective, existential moment. The cuts are minimal, allowing the space to fill with dread and silence. As the father’s presence in the bunker symbolises his final submission to the social structure that has always kept him hidden, the editing reflects this entrapment. The absence of frantic cuts here allows the audience to linger on the consequences of the father’s murderous actions. However the final sudden, sharp cut back to the reality of him in the bunker provides a shocking emotional contrast. This juxtaposition, made all emotions more prominent by the careful editing. This reflects the central theme of Parasite which is "the impossible hole between aspiration and reality in a world divided by class." This creates a sense of escapism, where the viewer is momentarily caught up in his hope for a better life. However, the cut to his father’s fate, hidden in the bunker, immediately ruptures this dream, bringing the viewer back to the harsh truth of his family’s situation. The editor uses multiple cuts to transition between the various elements of his dream. For example, the cut from him imagining himself purchasing the house to shots of the Park family’s luxurious home emphasises the contrast between his aspirations and the actual barriers that stand in his way. The smooth transitions serve to dissolve the boundaries between the real and the imagined, blurring the lines between what he hopes for and the actual challenges posed by the large class divide. While the letter writing and sleeping scene slows time to allow for emotional processing, the dream sequence temporarily speeds up the flow of time, creating a sense of possibility that is quickly broken by the sharp cuts to his father’s fate. The contrast in pacing between these scenes captures the son’s emotional state. It moves from the heavy, harsh reality of his family’s circumstances to the impermanent idea of his fantasy. These shifts in pacing also mirror the shifts in tone, making the transition from dream to reality even more contrasting. The editor uses this contrast between his dream and the grim reality to leave the audience with a sense of unresolved tension. The rapid cut from the dream to his father’s underground imprisonment is a sharp, almost jarring shift, reflecting how the realities of class division are inescapable. This final cut speaks volumes. It’s a battle between idealism and the cold, harsh facts of life. The juxtaposition of these two contrasting moments of the dream and the reality suggests the futility of the dream itself. The lingering medium shot of him at the end is prolonged, allowing his expression to register as a mix of sorrow and resignation. The editing here is careful and deliberate in how it holds on his face, letting the weight of the moment sink in. The cut to black after this lingering shot, accompanied by a minimalistic soundtrack (non-diegetic sound), leaves the audience with no sense of resolution (enigma). It’s a moment of finality, but one that’s filled with questions, as the film’s cyclical nature reminds us that the barriers between the classes are not easily overcome.