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.

　　在一系列国际大片之后，韩国导演奉俊昊重新归来，带着他在戛纳电影节的新作品《寄生虫》向富人和穷人的生活方式发起了一场持续的冲击。

　　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.

　　在他之前由体裁推动的作品中，如《汉江怪物》、《雪国列车》和《玉子》，奉俊昊利用了科幻小说中具有丰富寓意的潜能，来批判资本主义和阶级机制中的不公正。

　　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.

　　这一次，他抛弃了隐喻的层次，使用了一种更接近现实社会主义的风格，尽管他也加入了一些黑色幽默和惊悚元素。

　　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."

　　无论这个拥有双刃剑标题的恐怖电影内涵是什么，在《寄生虫》中所展示的那些在道德上有缺失和瑕疵的怪物实际上都是人类。奉俊昊将这部电影称作是“一部没有小丑的喜剧，也是一部没有恶棍的悲剧”。

　　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.

　　《寄生虫》讲述的是一个贫穷的家庭，他们精心策划了一个阴谋来拯救自己黯淡的前景。《寄生虫》的上映时间比原田宏和执导的主题类似的日本电影《小偷家族》晚了一点，后者一年前获得了戛纳电影节的金棕榈奖。

　　Bong' s more splashy, simplistic film will likely draw unflattering parallels, but there are richer cinematic echoes in here, too.

　　奉俊昊的这部更引人注意、更简单的电影可能会和《小偷家族》一样有一些不讨人喜欢之处，但影片之中的寓意也更加丰富。

　　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.

　　有时，《寄生虫》的情节会让人想起约瑟夫•罗西的《仆人》和皮埃尔·保罗·帕索里尼的《定理》。这两个充满人性恶意的故事讲述的是狡猾的社会弃儿对上流社会的主人发动秘密入侵的经过。

　　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.

　　和奉俊昊的许多作品一样，《寄生虫》是一部剧情十分冗长的电影，这也引起了一些负面评论。自然主义的处理方式，同样也使一些沉醉于幻想世界的粉丝敬而远之。

　　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.

　　尽管如此，这部戳中当代痛点的电影相比起《雪国列车》或者《玉子》来，依然更加连贯，整体基调更加稳定。在当下这个经济紧张、政治震荡的年代，它的冲击力能够及时产生一定的共鸣。

　　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日在韩国上映。奉俊昊在韩国拥有一系列十分强劲的电影票房记录，而在六月，它可能会在更多的地方同步上映。

　　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.

　　戛纳电影节之后，《寄生虫》也将参与到一系列电影界的参演之中，首场是6月15号的悉尼电影节。总部位于纽约的Neon公司去年在AFM获得了美国的发行权。

　　In an unusually personal plea, Bong has requested Cannes reviewers not to reveal plot spoilers about the second act of Parasite.

　　奉俊昊在一次不同寻常的个人请求中，要求戛纳影评人不要对《寄生虫》第二幕的剧情进行剧透。

　　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.

　　奉俊昊将影片中阶级战斗的潜台词变得实体化，在一场血腥的生存斗争后，没有一个人站在道德的至高点之上。

　　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》在最初展现动态张力上有点慢，在快节奏、黑心肠、科恩斯式的闹剧中不断攀登，最后以一场复仇暴力的混乱狂欢达到高潮。

　　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.

　　与以往一样，奉俊昊对经济不公的重拳出击充满了激情而非谨小慎微，有关秘密编码信息的多余结尾却显得有些太过笨拙。

　　A good 15 minutes of the pic' s generous two-hour-plus running time could be comfortably trimmed.

　　在电影长达两个多小时的放映途中，至少有15分钟的时间是可以被缩减的。

　　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.

　　尽管如此，《寄生虫》总体上来说引人入胜，制作精良，是奉俊昊自2003年《杀人回忆》以来最成熟的揭露国情现状的电影。