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.
艺术是主观性极强的一种领域。如果几乎所有看过这部电影的人都觉得它很出色，那它一定是一部杰作。如果在最近的电影中找出一部可能（并且能够）配得上这个特别的荣誉的话，那一定是奉俊昊的《寄生虫》。

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.
尽管在上映之前十分紧张——这位导演在戛纳电影节的首映式的前几天内写了一封信，希望观众不要破坏这部电影，还在一个采访里提到这部电影可能对大部分观众来说“太韩式了”而无法接受——《寄生虫》是一部具有善意的好奇心，并且能够获得当前本年度的最佳电影桂冠。

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.
这位韩国电影制片人作品（包括《汉江怪物》、《杀人回忆》以及更近一些的《雪国列车》、和《玉子》）的粉丝们将能够发现电影中包含的一些暗示：比如，在声调和体裁之间的液体流动代表了分类，一名患者的一次情感变化像蝴蝶煽动翅膀导致龙卷风一般，产生了巨大的影响。

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《寄生虫》中，奉俊昊已经将这些生物的本能磨练到一个不可思议的极端地步：无论你认为电影已经进行到了哪里，它都会在前半个小时内到达，然后在那之后变成至少两个不同的实体。在这方面，它和《汉江怪物》中的生物类型并没有什么不同——它一直在生长，每次改变形状都会变得更加致命。

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.
影片开场就讲述了基氏一家在目前他们使用的wifi密码受到保护的情况下，尝试找到他们可以使用的免费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.
家里的大家长基泽（宋康昊饰演）建议他的孩子们把电话拿得高一些，而他的妻子忠淑（张慧珍饰演）靠折披萨盒子获得家中最重要的一部分收入。但这仍然不够付他的两个孩子，基宇（崔宇植饰演）以及基婷（朴素丹饰演）的学费。但他们的钱刚好足够让他们住在这间半地下室中，在有灭虫者从房子附近经过时打开窗户，蹭用“免费的”杀虫烟雾。

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.
命运开始向他们的方向转变，在于其中一位基宇的朋友由于将去海外留学的缘故，不能接下给一位有钱人家的女儿家里当家庭教师的工作。在他离开之前，他推荐了基宇去做这份工作，将它带入了超乎寻常地有钱的朴氏家族的轨道之中。

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狭窄房间，朴氏一家住在一个空间极大的房子内，这座房子曾经居住的是建造它的有名建筑师，以及一名能看到他们所有需求的管家（李静恩饰演）。

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.
带上伪造的大学学历证件，基宇想给朴社长夫人（赵茹珍饰演）一个好的印象，甚至在朴夫人提到她年幼的儿子需要一个新的美术老师时，将他的妹妹加入到了骗局之中。

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.
就像这样，基宇一家找到了收入的来源：朴氏家族。然而，这种恩惠室友副作用的。他们在朴氏生活中的新位置意味着要取代其他人原有的位置，而越多这样的“砖块”出现，整个结构就变得越不稳定。

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).
看层层叠塔摇摆不定的过程是令人兴奋的。这在戛纳电影节的首映上获得了不止一次，而是两次影评让人的激烈鼓掌。（这是我参加的唯一一部在演出表播放前就赢得掌声的电影）

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.
人物之间必须保持微妙的平衡，而奉俊昊的夸夸其谈与不遗余力地讲故事之间的对比纯粹是肾上腺素的激增——我离开剧院时浑身发抖，至少一个小时都是这样。

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.
一旦尘埃落定，寄生虫的影响仍然存在。这部电影中的内容——也许是不可避免的，考虑到其社会不平等的基础——演变成可怕的悲剧。奉俊昊在娴熟的技巧中所唤起的喜悦，随着角色的绝望真正深入人心，变成了皮肤下的瘙痒。

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.
似乎是为了强调这一点，郑家一的配乐几乎是歌剧式的。它摒弃了通常伴随镜头而来的任何不和谐感，而是完全倾向于经典的即兴片段，相机也随之流畅地滑动。

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，尤其是女演员的表演。赵茹珍、李静恩和张慧珍的角色生活在三个不同的阶梯上，他们之间的动态关系——顺从、怨恨，以及忠淑所说的“钱能让你变好”——比基泽和朴先生(李善均饰)所代表的两极对立更加微妙。(不过，尽管如此，宋有一个特写镜头，让人电影结束后很长一段时间里能够回想起和《杀人回忆》类似的虚张声势。)

The only pity is, perhaps, the film' s title, which, while fitting, suggests a genre, sci-fi attitude that Parasite ultimately doesn' t have.
可能唯一的遗憾在于这部电影的片名，尽管很合适，却暗示着一种科幻片的类型和态度，而这部电影其实并不存在。

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《汉江怪物》、《雪国列车》存在于相同的领域高度，但它并没有跃进未来，也没有从河里突然冒出来的怪兽——它不需要这些。奉俊昊梦中的怪物一直是人类，而他也一样喜欢，毫无疑问。《寄生虫》也是如此。