They follow him anyway, and soon after we see Ki-woo nearly electrocuted by a live wire in the water and Ki-jung seated precariously atop a toilet spewing fecal sludge, smoking a cigarette and clutching her phone. In a classic gesture of paternal love, Ki-taek’s first impulse is to protect his children from the risk of infection by waste-borne parasites. Stay back, the father warns them, it’s all sewer water. In one of the few external sequences of Parasite, Kim Ki-taek (Kang-ho Song) and his teenaged children Ki-woo (Woo-sik Choi) and Ki-jung (So-dam Park) have fled the house of their employers through a diluvial rain to discover their low-lying neighborhood is heavily flooded. Both high society and low society are permeated by global technology however, the Kims appear to have successfully appropriated its techniques for their own necessities while the Parks seem more like hapless victims of ideology: asked by her husband if the teepee-tent will keep their son dry, Yeon-kyo replies, “Of course it will, I ordered it from the United States.”
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Similarly, all four rely on expertise with translocal technology in order to enable their performances: the phones, Internet, and software that permit them to be accessible to their employers, to create a fictitious high-class domestic employment agency, to learn how to be an art therapist, to forge a diploma from a prestigious university, to find out in an instant how to cook “ram-don.” And given the opportunity, they are just as able to step into and play the role of wealthy homeowners as the Park family has been shown to be. Given the opportunity, all four members of the Kim family are readily able to perform the roles required of them by the Park household: Ki-woo as an English tutor, Ki-jung as an art therapist, Ki-taek as a chauffeur, and Chung-sook as a housekeeper. One of the ways in which Parasite differs from many more naturalistic movies about urban poverty is that access to mediated experience is shown to be a function of opportunity rather than internal identity and a positive source of agency rather than a symptom of alienation.
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