Returning to home turf after a run of international features, South Korean auteur Bong Joon-ho launches a sustained attack on the lifestyles of the rich and shameless with his latest Cannes competition contender, Parasite.
在一系列國際大片之后，韓國導(dǎo)演奉俊昊重新歸來，帶著他在戛納電影節(jié)的新作品《寄生蟲》向富人和窮人的生活方式發(fā)起了一場持續(xù)的沖擊。

In previous genre-driven pieces like The Host, Snowpiercer and Okja, Bong tapped the juicy allegorical potential of sci-fi to critique the unjust nature of capitalism and class hierarchy.
在他之前由體裁推動的作品中，如《漢江怪物》、《雪國列車》和《玉子》，奉俊昊利用了科幻小說中具有豐富寓意的潛能，來批判資本主義和階級機(jī)制中的不公正。

This time, he ditches the metaphorical layers and adopts a register closer to social realism, albeit spiced with dark satire and noir-ish thriller elements.
這一次，他拋棄了隱喻的層次，使用了一種更接近現(xiàn)實社會主義的風(fēng)格，盡管他也加入了一些黑色幽默和驚悚元素。

Whatever the horror-movie connotations of that double-edged title, the morally flawed monsters in Parasite are entirely human. Bong calls the film "a comedy without clowns, a tragedy without villains."
無論這個擁有雙刃劍標(biāo)題的恐怖電影內(nèi)涵是什么，在《寄生蟲》中所展示的那些在道德上有缺失和瑕疵的怪物實際上都是人類。奉俊昊將這部電影稱作是“一部沒有小丑的喜劇，也是一部沒有惡棍的悲劇”。

With its focus on an impoverished family who concoct a wily scheme to boost their bleak prospects, Parasite arrives a little too soon after Hirokazu Kora-Eda's thematically similar Japanese drama Shoplifters, which won the Palme d'Or in Cannes a year ago.
《寄生蟲》講述的是一個貧窮的家庭，他們精心策劃了一個陰謀來拯救自己黯淡的前景。《寄生蟲》的上映時間比原田宏和執(zhí)導(dǎo)的主題類似的日本電影《小偷家族》晚了一點，后者一年前獲得了戛納電影節(jié)的金棕櫚獎。

Bong' s more splashy, simplistic film will likely draw unflattering parallels, but there are richer cinematic echoes in here, too.
奉俊昊的這部更引人注意、更簡單的電影可能會和《小偷家族》一樣有一些不討人喜歡之處，但影片之中的寓意也更加豐富。

At times the plot teasingly recalls Joseph Losey's The Servant and Pier Paolo Pasoloni' s Theorem, poison-tipped parables about cunning social outcasts staging stealth home invasions against upper-class hosts.
有時，《寄生蟲》的情節(jié)會讓人想起約瑟夫?羅西的《仆人》和皮埃爾·保羅·帕索里尼的《定理》。這兩個充滿人性惡意的故事講述的是狡猾的社會棄兒對上流社會的主人發(fā)動秘密入侵的經(jīng)過。

Like much of Bong' s work, Parasite is cumbersomely plotted and heavy-handed in its social commentary. The largely naturalistic treatment here may also alienate some of his fantasy fanboy constituency.
和奉俊昊的許多作品一樣，《寄生蟲》是一部劇情十分冗長的電影，這也引起了一些負(fù)面評論。自然主義的處理方式，同樣也使一些沉醉于幻想世界的粉絲敬而遠(yuǎn)之。

That said, this prickly contemporary drama still feels more coherent and tonally assured than Snowpiercer or Okja, and packs a timely punch that will resonate in our financially tough, politically polarized times.
盡管如此，這部戳中當(dāng)代痛點的電影相比起《雪國列車》或者《玉子》來，依然更加連貫，整體基調(diào)更加穩(wěn)定。在當(dāng)下這個經(jīng)濟(jì)緊張、政治震蕩的年代，它的沖擊力能夠及時產(chǎn)生一定的共鳴。

It opens May 30 in South Korea, where Bong has a consistently strong commercial track record, with more territories to follow in June.
它于5月30日在韓國上映。奉俊昊在韓國擁有一系列十分強(qiáng)勁的電影票房記錄，而在六月，它可能會在更多的地方同步上映。

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After Cannes it should also enjoy a healthy festival run, starting with Sydney on June 15. New York-based outfit Neon inked U.S. distribution rights at AFM last year.
戛納電影節(jié)之后，《寄生蟲》也將參與到一系列電影界的參演之中，首場是6月15號的悉尼電影節(jié)。總部位于紐約的Neon公司去年在AFM獲得了美國的發(fā)行權(quán)。

In an unusually personal plea, Bong has requested Cannes reviewers not to reveal plot spoilers about the second act of Parasite.
奉俊昊在一次不同尋常的個人請求中，要求戛納影評人不要對《寄生蟲》第二幕的劇情進(jìn)行劇透。

Bong then makes the film' s class-war subtext concrete with a bloody struggle for survival that leaves no one holding the moral high ground.
奉俊昊將影片中階級戰(zhàn)斗的潛臺詞變得實體化，在一場血腥的生存斗爭后，沒有一個人站在道德的至高點之上。

Initially a little slow to set up its dynamic tension, Parasite peaks during its lively mid-section as a fast-paced, black-hearted, Coens-esque farce before climaxing with a chaotic orgy of vengeful violence.
《寄生者》在最初展現(xiàn)動態(tài)張力上有點慢，在快節(jié)奏、黑心腸、科恩斯式的鬧劇中不斷攀登，最后以一場復(fù)仇暴力的混亂狂歡達(dá)到高潮。

As ever, Bong' s bludgeoning attacks on economic injustice have more passion than nuance, while a superfluous coda about secret coded messages is a clumsy twist too far.
與以往一樣，奉俊昊對經(jīng)濟(jì)不公的重拳出擊充滿了激情而非謹(jǐn)小慎微，有關(guān)秘密編碼信息的多余結(jié)尾卻顯得有些太過笨拙。

A good 15 minutes of the pic' s generous two-hour-plus running time could be comfortably trimmed.
在電影長達(dá)兩個多小時的放映途中，至少有15分鐘的時間是可以被縮減的。

Nonetheless, Parasite is generally gripping and finely crafted, standing up well as Bong' s most mature state-of-the-nation statement since Memories of Murder in 2003.
盡管如此，《寄生蟲》總體上來說引人入勝，制作精良，是奉俊昊自2003年《殺人回憶》以來最成熟的揭露國情現(xiàn)狀的電影。

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