Art is too subjective a field for any single movie to be deemed a masterpiece by absolutely everyone who sees it, but if there' s any film in recent memory that may (and should) earn that particular distinction, it' s Bong Joon-ho' s Parasite.
藝術(shù)是主觀性極強(qiáng)的一種領(lǐng)域。如果幾乎所有看過(guò)這部電影的人都覺(jué)得它很出色，那它一定是一部杰作。如果在最近的電影中找出一部可能（并且能夠）配得上這個(gè)特別的榮譽(yù)的話，那一定是奉俊昊的《寄生蟲(chóng)》。

Despite a nervous lead-up — the director put forth a letter asking audiences not to spoil the movie in the days prior to the film' s premiere at Cannes, as well as saying in an interview that the story might be too Korean for mass audiences to jive with it — the film is a bona fide wonder, and may claim the crown for the best movie of the year.
盡管在上映之前十分緊張——這位導(dǎo)演在戛納電影節(jié)的首映式的前幾天內(nèi)寫了一封信，希望觀眾不要破壞這部電影，還在一個(gè)采訪里提到這部電影可能對(duì)大部分觀眾來(lái)說(shuō)“太韓式了”而無(wú)法接受——《寄生蟲(chóng)》是一部具有善意的好奇心，并且能夠獲得當(dāng)前本年度的最佳電影桂冠。

Fans of the Korean filmmaker' s work (The Host, Memories of Murder, and more recently Snowpiercer and Okja) will have an inkling of what' s in store, i.e. fluid movement between tones and genres that defies categorization, and a patience in fleshing out emotional beats that turns early flutters of butterfly wings into tornadoes later on.
這位韓國(guó)電影制片人作品（包括《漢江怪物》、《殺人回憶》以及更近一些的《雪國(guó)列車》、和《玉子》）的粉絲們將能夠發(fā)現(xiàn)電影中包含的一些暗示：比如，在聲調(diào)和體裁之間的液體流動(dòng)代表了分類，一名患者的一次情感變化像蝴蝶煽動(dòng)翅膀?qū)е慢埦盹L(fēng)一般，產(chǎn)生了巨大的影響。

With Parasite, Bong has honed those instincts to an uncanny extreme; wherever you think the film is going, it gets there within the first half hour, and morphs into at least two distinct entities after that. It' s not unlike the creature in The Host in that respect — it keeps growing, becoming deadlier each time it changes shape.
在《寄生蟲(chóng)》中，奉俊昊已經(jīng)將這些生物的本能磨練到一個(gè)不可思議的極端地步：無(wú)論你認(rèn)為電影已經(jīng)進(jìn)行到了哪里，它都會(huì)在前半個(gè)小時(shí)內(nèi)到達(dá)，然后在那之后變成至少兩個(gè)不同的實(shí)體。在這方面，它和《漢江怪物》中的生物類型并沒(méi)有什么不同——它一直在生長(zhǎng)，每次改變形狀都會(huì)變得更加致命。

When the film opens, the Kim family are trying to figure out which local business' free wifi they can glom onto now that the network they' ve been using has become password protected.
影片開(kāi)場(chǎng)就講述了基氏一家在目前他們使用的wifi密碼受到保護(hù)的情況下，嘗試找到他們可以使用的免費(fèi)wifi。

Patriarch Ki-taek (Song Kang-ho) advises his kids to hold their phones higher, while his wife Chung-sook (Jang Hye-jin) folds pizza boxes as the family' s sole source of income. It' s not enough money to afford tuition for their kids, Ki-woo (Choi Woo-shik) and Ki-jung (Park So-dam), but they make just enough to stay in their sub-basement apartment, getting "free"?fumigation by leaving their windows open when exterminators visit the nearby houses.
家里的大家長(zhǎng)基澤（宋康昊飾演）建議他的孩子們把電話拿得高一些，而他的妻子忠淑（張慧珍飾演）靠折披薩盒子獲得家中最重要的一部分收入。但這仍然不夠付他的兩個(gè)孩子，基宇（崔宇植飾演）以及基婷（樸素丹飾演）的學(xué)費(fèi)。但他們的錢剛好足夠讓他們住在這間半地下室中，在有滅蟲(chóng)者從房子附近經(jīng)過(guò)時(shí)打開(kāi)窗戶，蹭用“免費(fèi)的”殺蟲(chóng)煙霧。

The tide turns in their favor when one of Ki-woo' s friend gives up his gig as a private tutor to the daughter of a wealthy family so as to travel abroad. Before he leaves, he recommends Ki-woo for the job, bringing him into the orbit of the Parks, who are rich beyond measure.
命運(yùn)開(kāi)始向他們的方向轉(zhuǎn)變，在于其中一位基宇的朋友由于將去海外留學(xué)的緣故，不能接下給一位有錢人家的女兒家里當(dāng)家庭教師的工作。在他離開(kāi)之前，他推薦了基宇去做這份工作，將它帶入了超乎尋常地有錢的樸氏家族的軌道之中。

Unlike the cramped apartment in which the Kims reside, the Parks live in a spacious house that used to be occupied by the famous architect who built it, with a housekeeper (Lee Jung-eun) who sees to their every need.
不像基氏一家所住的狹窄房間，樸氏一家住在一個(gè)空間極大的房子內(nèi)，這座房子曾經(jīng)居住的是建造它的有名建筑師，以及一名能看到他們所有需求的管家（李靜恩飾演）。

Armed with forged college papers, Ki-woo manages to make a good impression on Mrs. Park (Cho Yeo-jeong), and even gets his sister in on the scam when Mrs. Park mentions that her young son needs a new art teacher.
帶上偽造的大學(xué)學(xué)歷證件，基宇想給樸社長(zhǎng)夫人（趙茹珍飾演）一個(gè)好的印象，甚至在樸夫人提到她年幼的兒子需要一個(gè)新的美術(shù)老師時(shí)，將他的妹妹加入到了騙局之中。

Just like that, the Kims have found a source of income: the Parks. That boon, however, has side effects. Their new place in the lives of the Parks means displacement elsewhere, and the more metaphorical bricks slip out of place, the more precarious the entire structure becomes.
就像這樣，基宇一家找到了收入的來(lái)源：樸氏家族。然而，這種恩惠室友副作用的。他們?cè)跇闶仙钪械男挛恢靡馕吨〈渌嗽械奈恢?，而越多這樣的“磚塊”出現(xiàn)，整個(gè)結(jié)構(gòu)就變得越不穩(wěn)定。

Watching the Jenga tower wobble is exhilarating, and led to not only one but two bursts of applause during the critics’ screening at Cannes (the only film I attended to earn any applause before credits rolled).
看層層疊塔搖擺不定的過(guò)程是令人興奮的。這在戛納電影節(jié)的首映上獲得了不止一次，而是兩次影評(píng)讓人的激烈鼓掌。（這是我參加的唯一一部在演出表播放前就贏得掌聲的電影）

The contrast between the delicate balance the characters must maintain and Bong’s bombastic, pull-out-all-the-stops storytelling is a pure adrenaline rush — I was shaking when I left the theater, and remained that way for at least an hour.
人物之間必須保持微妙的平衡，而奉俊昊的夸夸其談與不遺余力地講故事之間的對(duì)比純粹是腎上腺素的激增——我離開(kāi)劇院時(shí)渾身發(fā)抖，至少一個(gè)小時(shí)都是這樣。

Once that dust settles, the effects of Parasite still remain. The film — perhaps inevitably, given its basis in social inequity — careens into awful tragedy, and the delight Bong summons in his deft craftsmanship morphs into an itch under the skin as the desperation of the characters really sinks in.
一旦塵埃落定，寄生蟲(chóng)的影響仍然存在。這部電影中的內(nèi)容——也許是不可避免的，考慮到其社會(huì)不平等的基礎(chǔ)——演變成可怕的悲劇。奉俊昊在嫻熟的技巧中所喚起的喜悅，隨著角色的絕望真正深入人心，變成了皮膚下的瘙癢。

As if to underline the point, Jung Jae-il' s score is almost operatic. It lets go of any of the dissonance that would usually accompany sequences meant to evoke tension and instead leans fully into classical riffs, with the camera gliding along accordingly smoothly.
似乎是為了強(qiáng)調(diào)這一點(diǎn)，鄭家一的配樂(lè)幾乎是歌劇式的。它摒棄了通常伴隨鏡頭而來(lái)的任何不和諧感，而是完全傾向于經(jīng)典的即興片段，相機(jī)也隨之流暢地滑動(dòng)。

The performances are just as rich, particularly those of the women. Cho, Lee, and Jang' s characters exist on three different rungs of the ladder, and the dynamics between them — deference, resentment, and Chung-sook' s claim that “money makes you nice” — are subtler than the polar opposites that Ki-taek and Mr. Park (Lee Sun-kyun) represent. (Though, that said, Song has a close-up that calls back to a similar moment of bravado in Memories of Murderthat will linger in the imagination long after the movie is over.)
演出非常精彩，尤其是女演員的表演。趙茹珍、李靜恩和張慧珍的角色生活在三個(gè)不同的階梯上，他們之間的動(dòng)態(tài)關(guān)系——順從、怨恨，以及忠淑所說(shuō)的“錢能讓你變好”——比基澤和樸先生(李善均飾)所代表的兩極對(duì)立更加微妙。(不過(guò)，盡管如此，宋有一個(gè)特寫鏡頭，讓人電影結(jié)束后很長(zhǎng)一段時(shí)間里能夠回想起和《殺人回憶》類似的虛張聲勢(shì)。)

The only pity is, perhaps, the film' s title, which, while fitting, suggests a genre, sci-fi attitude that Parasite ultimately doesn' t have.
可能唯一的遺憾在于這部電影的片名，盡管很合適，卻暗示著一種科幻片的類型和態(tài)度，而這部電影其實(shí)并不存在。

It exists in the same heightened realm as The Host and Snowpiercer, but it has no leaps into the future or kaiju emerging from the river — it doesn' t need them. The monsters Bong has dreamt up have always been human, and he loves them all, without a doubt. So it goes with Parasite.
它和《漢江怪物》、《雪國(guó)列車》存在于相同的領(lǐng)域高度，但它并沒(méi)有躍進(jìn)未來(lái)，也沒(méi)有從河里突然冒出來(lái)的怪獸——它不需要這些。奉俊昊夢(mèng)中的怪物一直是人類，而他也一樣喜歡，毫無(wú)疑問(wèn)。《寄生蟲(chóng)》也是如此。

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