





































Bong Joon-ho’s portrayal of class and the war between 

those who inhabit either end of the socioeconomic 

spectrum has long been noted and explored by critics 

and scholars for years. In particular, his films Parasite 

and Snowpiercer offer a dynamic exploration of this 

topic. Existing conversation about these films delves 

deeply into the symbolism for class and status, but 

rarely do they come from an emphasis in food stud-

ies and the way food can be used to denote socioeco-

nomic structures. While that conversation is growing, 

I hope to expand it further by focusing on the space 

and method in which food is consumed in these films 

through a socioeconomic lens. Parasite and Snowpierc-

er are essential to this conversation because of their 

careful use of space and consumption. There is a clear 

spatial divide between the lower and upper classes in 

these movies that is examined and manipulated within 

either film. With this spatial divide, we see food spac-

es change in order to reinforce a binary idea of how 

class structure exists. Along with the change in space, 

change in method of consumption is equally important 

to analyze. The subtle but powerful differences create 

an image that serves to emphasize socioeconomic po-

sition and explain the relationship between dominant 

and subordinate groups.

Class is a universal tool designed to separate 
large groups of people into a binary world. It’s a 
system that has divided every civilization from 
ancient cities to modern superpowers and, being 
an all-encompassing timeless force, is thus root-
ed in every aspect of our society. Some of these 
manifestations of class division are obvious, like 
neighborhood disparities or social division, cre-
ating a tension that is incredibly common in the 
literature of any culture. While exploring its roots 
in books and film as a derivative of the social 
structure established by the novel or movie can 
be compelling, it is far more interesting to look 
at the smaller, often overlooked parts of a given 
piece from a socioeconomic lens. Few creators 
understand the importance of subtle manifes-
tations of socioeconomic principles as director 
Bong Joon-ho. In his films Snowpiercer and Para-
site, class is at the forefront, and while the films 
have more obvious imagery of social division, 
the most subtle and complex way of viewing 
class in either film comes from food and the way 
and space in which it is consumed. Bong Joon-ho 
uses the subtle placement of food to explore the 
different class expectations as a limiting agent as 
well as in terms of performance, confining each 
social group into their respective roles through 
the space and consumption of food.

 To analyze the socioeconomic systems in each film, I will primarily be using class as defined and 
studied by Raymond Williams in his book Keywords: A Vocabulary of Culture and Society, where he de-
fines class as “a new binary: in Marxist language the bourgeoisie and the proletariat” (32). Williams 

Eat the Rich: The Parasitic Relationship Between 
Socioeconomic Groups in Bong Joon-ho’s Parasite 

and Snowpiercer
Vincent Ramos-Niaves, Ball State University

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61 | Ramos-Niaves



explores class as a binary system, disregarding the concept of the middle class as a physical entity 

and labelling it a “self-conscious and self-used description” (28). For the purposes of this analysis, this 

definition is fitting as both Snowpiercer and Parasite seek to highlight a binary interaction between the 

higher and lower class without an easily identifiable middle ground. While Williams does make the ar-

gument that the working class may be inducted into the middle class, both films take an approach of the 

upper class against any lower class, reinforcing the duality rather than complicating it. Williams further 

expands on this duality in his book Marxism and Literature (Marxist Introductions) where he conflates 

the bourgeois as a form of “cultural sociology” and also delves into their habit of “mass manipulation,” 

both of which are prevalent in these films—particularly Snowpiercer (136).

 Beyond Williams, class is one of the pinnacles of human society, so there is a plethora of in-

formation on these aspects in both films. Pieces like “Laughing to Keep from Crying” by Ari Aster and 

“’Parasite’ Review: The Lower Depths Rise with a Vengeance” by Manohla Dargis examine class in the 

context of Bong Joon-ho’s subversion of traditional roles and expectations of the characters to highlight a 

resistance against the binary class system, not unlike what Williams describes. Not nearly enough dia-

logue has been started on the idea of food within these class-based films despite the emphasis on food 

and consumption in each of them. This, along with the recentness of the films, has led to a lack of schol-

arly discussion regarding the specific topics of this paper. However, scholars and critics of these two 

films do note common threads. Chief among these is a clear reinforcement of traditional class structures, 

and I will be expanding on this through a close analysis of the use of food and space and by utilizing 

the limited criticism available. However, it is also important to note that the context of Williams’s essays 

is firmly rooted in British class structures while Bong Joon-ho is Korean. Many of Bong’s films do have 

more Western-centered images and themes, making a British analysis of class more in line with 

Bong’s methodology.

 1. Snowpiercer

 Bong Joon-ho’s film Snowpiercer (2013) is a sci-fi dystopian thriller in which the entire world has 

frozen over, leaving what remains of humanity to inhabit one long train. The train itself was created by 

the antagonist of the film, Wilford, and is meant to circumnavigate the world and never stop running. 

Everything needed for life on earth exists on the train. The society there is symbolic of socioeconom-

ic structures with the poorest being all shoved together at the tail end of the train, earning the name 

“tailenders,” while the “frontenders” consist of the upper class. Bong Joon-ho does not spend much 

time in the middle of the train, making his representation of class more akin to William’s definition. 

The plot itself follows Curtis, the protagonist, as he and a group of tailenders seek to overthrow Wilford 

in a rebellion. Throughout the film, many of them die, including a mother figure, Tanya; Curtis’s close 

friend, Edgar; and other important tailender figures like Gilliam (John Hurt) and his surrogate son Grey. 

Key frontender and Wilfred’s spokeswoman, Mason, dies as well. The movie ends with Curtis derailing 

the train, effectively killing everyone except for the two youngest who are left to rebuild a better society. 

Snowpiercer’s relevance is perhaps best explored by Ian Pettigrew in his review for Science Fiction Film 

and Television. Pettigrew notes several scenes from the film, such as that “both Korean characters are 

addicted to the train’s drug of choice Kronol” (151). Here, he clearly draws a connection to western

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Ramos-Niaves | 62



civilization’s treatment of marginalized groups, reinforcing the notion of power as a manipulative force 

and showing Bong’s attention to the real-world implications of consumption from a powerful group to a 

subordinate.

 Snowpiercer is an understudied film, making the analysis of specific scenes essential to under-

standing the emphasis on food in the film and its relevance to Bong’s critique of class. The most em-

phasized example of food’s massive implications in the film comes from the item that’s given the most 

frequently: protein bars. These initially appear to be small brown rectangles of indeterminable composi-

tion, but Bong reveals their production towards the end of the first act. In this scene, Curtis and his re-

bellion break into the production car where mass quantities of the protein bars are made. The tailenders 

rush to the conveyer belt, grabbing as many of these bars as possible, noting their warmth and market-

ing that feature as a luxury. However, moments later, the ingredients for the bars are revealed: ground 

up insects put through a high-tech grinder until they are essentially a brown gelatin-like structure. The 

emphasis of this role can perhaps best be compared to the role of chicken, a cheap inexpensive meat 

now that, while sensationalized on the train, carries a specific connotation. In her essay “More than Just 

the ‘Big Piece of Chicken’: The Power of Race, Class, and Food in American Consciousness,” Psyche 

Williams-Forson investigates the role of chicken as a food source primarily associated with Black cul-

ture. She identifies the origins of the stereotype as chickens being an undervalued source that enslaved 

people could typically get away with stealing (111). In essence, chicken gained its notoriety from being 

the only available option to a group oppressively denied nourishment. While chicken itself is not used in 

the film in this specific way, its similarities to the protein bars offer a look into the way Bong utilizes the 

role and consumption of food to highlight the marginalization of the lower class.

 Bong directly compares protein bars to chicken, creating a more poignant emphasis on the lux-

ury of more quality meat as a barrier between classes. When comparing the role of one food to another 

in Snowpiercer, the spaces in which the food is consumed or shown are incredibly relevant in terms of 

the hierarchy of the train. It’s a rather straight-forward metaphor of class. Those closer to the front of the 

train represent the upper class while the farther back a person is, the less important a person is to the 

social hierarchy. Chicken, being the middle ground of the film, is the first comparison to be made in 

terms of food. Seconds before Curtis’s rebellion begins, the tailenders antagonize the guards shouting, 

“we want chicken,” rejecting the protein bars. This demand for the betterment of their meal at a time 

in which they are trying to push forward puts the protein bars spatially in the back of the train. There is 

a massive difference in where the film allows the bars to exist and where chicken is. When we see the 

protein bars being made or consumed, the car is always dark and the people grimy. The car where they 

find the grinder is a dingy place with little lighting, but the chicken car is well lit by florescent lights all 

along the walls. It marks them as a cleaner form of food, making them significantly more important in 

appearance when juxtaposed to the grime worn by the tailenders. It shows them as out of place next to 

the luxury that they haven’t been afforded.

 The food choices as a representation of class come together in the final scene in which Curtis is 

forced to have dinner with the inventor of the train, Wilford, which operates as a callback to past mo-

ments in the film and emphasizes its role as the epitome of class privilege. This scene is full of religious 

imagery where Wilford rules over and controls the lives of the people in the train, explaining how he

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63 | Ramos-Niaves



and an important figure of the tailenders orchestrated Curtis’s rebellion, and how they, together, control 

life and prosperity on the train. All while he is explaining this, Wilford is cooking a meal for himself of 

steak and red wine. These two items are very emblematic of socioeconomic structures. Steak and red 

wine are traditionally linked with the upper class, marking their inclusion as a clear indicator of themat-

ic importance to the film. The intentional choice of this food gives this entire scene more weight in terms 

of the grand scheme of the food choices throughout the film, specifically the method of consumption. 

At every point of the film where food is involved, the characters eat the item with their hands; even the 

eggs are hard-boiled so frontenders and tailenders alike eat them with their bare hands, and the daugh-

ter of the inventor, Yona, drinks champagne directly from the bottle. While this could be explained as a 

reinforcement of the tailenders as the “savage” end of society, another emphasis on utensils coming from 

an interaction between Mason and Curtis at the sushi bar brings the utensils into more critical role.

 In this scene, Curtis forces Mason to eat the protein bar, thus cementing her as a part of the lower 

class, but moments before this, Mason had attempted to have sushi with the rest of them using chop-

sticks which are taken from her. By replacing this utensil with the protein bar, Curtis is essentially re-

moving her status as a high-ranking official. This use of utensils as a symbol makes the egg scene more 

interesting as everyone eats the eggs the exact same way. This draws attention to the blurring of socio-

economic lines that Wilford talks about at length during this conversation. Wilford talks about working 

with tailender Gilliam because “the front and the tail are supposed to work together” (Parasite). He says 

this cooperation is meant to maintain order, and the tension their oppression creates is just as vital as his 

maintaining the engine for their society to thrive. This explains why, in the middle of the train, everyone 

is on equal footing, eating a simple food of moderate luxury with the same method of consumption. The 

middle of the train illustrates a blurring of societal lines and highlights the importance of Curtis’s rebel-

lion as a destructive but necessary force in the same way Wilford does. Still, as we will explore later in 

this essay, these comparisons orchestrated by food matters offers the assurance of a relationship both 

parasitic and symbiotic in nature. The foundation of this argument is perhaps best illustrated by another 

of Bong Joon-ho’s films, Parasite.

 2. Parasite

 Parasite, released in 2019, is a social commentary thriller directed and created by Bong Joon-

ho. It follows the Kims, a lower-class family unable to find work due to a lack of opportunities in South 

Korea. While earning some money folding pizza boxes, they meet the Parks, a wealthy family in need of 

some labor. Slowly, the Kims conspire to get all of the Parks’ employees fired and then take those jobs 

for themselves. The Kims’ attempted integration in the Park home eventually leads to the death of the 

Kim daughter and injury of the Kim son. Spurned by this, the film ends with the Kim father killing the 

Park patriarch and hiding in tunnels under the Park home for what we assume to be the rest of his life. 

The film is widely believed to be a brilliant depiction of class struggles and won an Oscar for its critique 

of the class system. While the film does follow Raymond Williams’s definition of class, it brings the sep-

aration of lower and upper classes to the forefront, as noted by critics like E. Alex Jung and Bong Joon-

ho himself as he states in an interview with The Atlantic: “What story could I tell with just two houses? I 

came up with the idea of a poor house and a rich house. . . . I was really enveloped in this story about 

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Ramos-Niaves | 64



the gap between the rich and the poor” (Sims). This separation as it pertains to Parasite is best explored 

in the essay “Domination and Subordination” by Jean Baker Miller. Miller refers to class as a form of 

“permanent inequality,” meaning it’s something born and not achieved or marked by certain characteris-

tics. According to her studies, most of these sociological groups (class, gender, race, etc.) can be sepa-

rated through a binary lens made of the dominants and the subordinates. In context with one another, 

“dominant groups usually impede the development of subordinates” and “determine what is normal for 

a culture,” while subordinates attempt to follow social rules created by the dominants while motivated 

by their own self-interest in an act of basic survival (Miller 94-95). This insistence on dominant and sub-

ordinate social factions is the driving force behind Parasite as the lower class competes with the upper 

for domination despite living as a subordinate group.

 In terms of the connotation of the food itself in the film, Parasite functions much like Snowpierc-

er, using well-known dishes with distinct ties to class in order to enhance the film’s central theme and 

identify the subordinates and dominants. For example, the Parks ask their cook, Chung-sook (mother 

of the Kim family), to make a simple dish but emphasize the importance of adding sirloin, a red meat 

symbolic of wealth (Parasite). Where Parasite deepens this meaning is the invasion and division of socio-

economic spaces and their methods of consumption. The Parks eat on a long wooden dining room table, 

emphasizing their wealth and position as they sit far away from each other, but the Kims are often shown 

eating close together and with the bare minimum of utensils and care. In fact, their positions while 

eating are remarkably different. The Kims eat in various positions around the kitchen, close together and 

close to the location in which food is prepared. It is in these scenes where the Kims eat around their 

table that the invasion of upper-class space is planned and comprised. However, it is also a location that 

visually places the Kims as subordinates in their relationship with the family they serve. When looking at 

the way the dinner table is treated with the Parks, there is a very different experience. The Parks never sit 

at the table together, choosing instead to have their conversations when one of them is at the table, not 

eating together. By consuming their food in various locations, they take up more space, carefully avoid-

ing the kitchen to maintain their distance from where the food is cooked. This separation is indicative of 

a more civilized and refined way of consumption. The two images of the consumption space allow the 

Parks and Kims to inhabit a food space at the peak of their class expectations. The importance of this dif-

ference is perhaps best shown through the invasion of the Park residence by the Kims (Parasite 00:55:11-

1:24:35.)

 This long scene represents the turning point of the film where the story takes a darker turn. In this 

scene, the Parks leave for a camping trip, leaving their home in the hands of Chung-sook. Thanks to this 

absence, the Kims then inhabit the Park residence and, with the arrival of the recently fired cook, learn 

about a series of secret underground tunnels hiding an older poor man who is the former maid’s hus-

band. When the Parks call Chung-sook informing her of an early return, the family rushes to hide their 

stay, leading to the death of the Park’s former maid. Food and drink in this sequence holds a particularly 

interesting meaning when compared to other instances of eating in different spaces. The sequence can 

be further investigated by comparing two specific moments: The Parks eating on the living room couch 

of the Park house, and Mrs. Park eating at the dinner table (Parasite 00:57:11, 1:18.41). It is important to 

first reinforce the importance of distance and space when looking at these two scenes. The Kim family,

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65 | Ramos-Niaves



representing the lower-class, or subordinates, are all sitting close together as they eat and drink, but the 

Park family is dispersed and separated, not all eating and also occupying greater space. The two loca-

tions operate as different eating spaces in different rooms, giving them a physical barrier to separate the 

dominants from the subordinates, despite the fact that the Kims are still occupying a dominant space to 

eat. Similarly, the underground tunnels hiding the lower-class man within the Park house is hidden be-

hind a food-space as well, that being the pantry in the basement, emphasizing the idea of the “upstairs 

family and the downstairs” (Jung). The couch scene opens with most of the family on the floor, pouring 

scotch into a clear rocks glass, emphasizing the position of an upper-class family. However, as the son 

pours his father more scotch, the father looks directly into the camera and says, “this is pretty classy,” 

reminding the viewers of the oddity of this family consuming these items. The sense of irony is only 

heightened by the placement of the food itself in the scene, covering the table in a disorganized clutter 

of mismatched foods. From there, they fall further and further from their perceived privilege, moving 

from drinking from a glass to drinking liquor straight from the bottle, eating food with their hands, and 

eventually even shattering glasses and throwing food across the floor.

 Conversely, the mother of the Park family, Yeon-gyo, has a different relationship with the food 

she consumes in the separate scene. The food given to her is not food she found or made herself, but is 

rather the food she had her maid, Chung-sook, cook and then later serve to her as she sits at the dinner 

table. Yeon-gyo engages Chung-sook in a meaningless conversation where the Kim matriarch remains 

standing while Mrs. Park eats. This signifies a differentiation between the reason either woman is there. 

Chung-sook is there as a distraction from the attack on and essential murder of the former maid that 

occurred moments earlier, unable to sit at the table itself as the situation marks her as an uncivilized 

subordinate, while Mrs. Park represents a picture of civilized society to the wealthy, sitting at a table 

with a bowl with utensils and eating a meal she did not make herself. Even Chung-sook’s making of the 

food symbolizes the subordinate as the act was tainted both by the crime she had just committed and 

the lie she told Yeon-gyo. In this way, the food becomes a kind-of sickness of the lower-class infiltrating 

the upper-class, a fact only solidified by the fact that the meal itself is a comfort food associated with the 

lower class but with sirloin, an upper class meat, mixed in, highlighting the blend of class-related foods. 

The blending is furthered when the Park mother offers the food to every member of the house before 

sitting down to eat it herself, showing the infiltration in a more complete way that directly confronts the 

dominant social group with the subordinate.

 3. Common Themes in Parasite and Snowpiercer

 While Parasite and Snowpiercer are remarkably different movies, they both revolve around the 

theme of class and how each social group relates and connects to the other. What’s important about 

the comparison of the two comes from the lens through which they are told. Snowpiercer comes from a 

place where subordinates seek to become dominants in their own class system. Parasite, however, sees 

class for what it is, a parasitic relationship where the wealthy benefit and the poor have to accommodate 

while acting in their own self-interest. According to Jean Baker Miller, subordinates know “[their] fate 

depends on accommodating to and pleasing the dominants,” allowing them to infiltrate them with the 

knowledge of how they operate. In some ways, the thematic importance of Snowpiercer can be

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Ramos-Niaves | 66



conveyed through the single action of Mr. Kim stabbing Mr. Park at the end of Parasite. Still, however, 

that aggression and rage create a conflict between the classes that is essential in fully understanding 

the effects of socioeconomic barriers as they are presented in Bong Joon-ho’s work. By comparing these 

two films, we see Bong’s steady reinforcement of socioeconomic norms: the subordinates eat with their 

hands in close proximity to the making of the food, the dominants (or those inhabiting dominant space) 

drink elegant alcoholic drinks with classier connotation from glasses rather than straight from the bottle 

like subordinates.

 Similarly, punishment for social deviance is prominent as seen through the massacre of tailenders 

at the end of Snowpiercer and the death, imprisonment, and insanity of the Kim family. In both films, 

Bong utilizes punishment to emphasize the rejection of shifting class structures. This comes into play in 

Parasite through the use of water. Early in the film, during the first real instance of the Kim family inhab-

iting of the Park home, the son of the Kim Family, Ki-woo, takes 2 glass water bottles for himself and his 

sister. While this in itself is an innocuous enough moment, its place as the first parasitic act of the family 

is central to understanding the way Bong Joon-ho reinforces socioeconomic structure through punish-

ment of deviant behaviors. Water is influenced by Bong’s idea of socioeconomic structures. The direc-

tor makes it a point to display the brand and type of water being consumed, that being an expensive, 

imported brand, making the consumption of it an act of deviance by the characters. This deviance then 

leads to punishment by the end of the film, reinforcing socioeconomic boundaries. The film accomplish-

es this by flooding the Kim home, using that same life-sustaining food to effectively destroy the family’s 

way of life (Parasite). This could be interpreted from a religious context, the Great Flood washing out sin-

ners. This punishment is supplemented by the ending of the film in which the two most injured members 

of the family are the same two who drank the water. A review by John Tammy makes note of the oddity 

of the children’s positions, stating, “Simply stated, fluency in English is a rather lucrative skill to possess 

. . . if he’s got these skills why on earth would he be folding pizza boxes? . . . . why isn’t he already lu-

cratively employed by someone, somewhere in Seoul.” While Tammy notes this, he fails to acknowledge 

the physical and visual barrier presented by the film as the norm of this film. Taking into account the 

oddity of the intelligence of the Kim family that Tammy observes, the intelligence of the younger Kims 

marks a further deviation from their societal role, making their punishment at the end even more fitting, 

solidifying the importance of reinforcing socioeconomic boundaries.

 This type of religious allusion is common in Bong’s works, especially when it comes to the pun-

ishment of deviant behavior. For example, the aforementioned scene in Snowpiercer involving the eggs 

references the builder of the train, Wilford, as a God of the society, praying to him and saying life on 

the train is because of his will and grace. This allusion is further cemented by the imagery of Curtis 

when Wilford shows him the engine and a bright white light shines on his face. The dialogue is followed 

by the involvement of chicken, specifically eggs, which operate as an enforcer of class roles similarly 

to Parasite’s use of water. The eggs come into play when Curtis and his allies infiltrate the education 

car where “children enthusiastically recite propaganda,” emblematic of the American repetition of the 

pledge in school (Pettigrew 151). The model of the class and repetition of propaganda that Ian Pettigrew 

points out in his review reinforces the idea of God and prayer to the society of Snowpiercer. By praying 

to Wilford, they validate themselves as the privileged and “worthy,” making the punishment of the scene

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67 | Ramos-Niaves



more poignant. In the scene, the tailenders and frontenders are all given free hardboiled eggs despite 

their place in the class system. However, the moment the eggs are consumed, and the tailenders are 

afforded the very luxury they sought out, they are immediately punished by the frontenders in the form 

of gunfire and the mass executions. This punishment is especially weighty when considering the sushi 

scene just prior to this one. In that scene, the tailenders are afforded a luxury that they hadn’t had since 

before the apocalypse. Moreover, they aren’t the only deviants. When Curtis and the others are forced 

to deviate from the assigned role, Curtis also forces Mason to do the same, having her eat a protein bar, 

marking her for the same punishment as them. In either case, the punishment is handed down by that 

film’s God, enforcing Raymond Williams’s idea regarding the role of inheritance in 

socioeconomic structures.

 Food in Snowpiercer and Parasite is used to create barriers between socioeconomic groups and 

explore the societal reaction and impact of the blurring of those lines. The impact and importance of 

food as a human necessity gives it more weight to be able to highlight the infiltration of class structure 

in our everyday lives, creating an uncomfortable narrative that forces us to question our place within 

socioeconomic structures. However, these films deal with food in more than just a superficial way. They 

highlight the differences in food spaces as a strong indicator of class, proximity to sustainable food as an 

indicator of worthiness and privilege, and using religious imagery and punishment of deviant behavior 

to show the ramifications of stepping outside of one’s prescribed barrier. Their endings and beginnings 

are centered around where food is from the introduction of the Kim family talking at their dinner table to 

the tailenders waiting for their protein bars. These films end much in the same way, with the Kim daugh-

ter being stabbed with a kebab and Curtis watching Wilford eat a steak. Both films and their messages 

start and end with the importance of food and space as a driving point to their careful critique of class 

structures. While food is just one way in which class is examined in these films, food is also the pinna-

cle of culture and society, the most basic human necessity. To ignore the importance of that would be to 

ignore the subtleties and intricacies of our class-based society that Bong Joon-ho demands we examine.

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Works Cited

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Dargis, Manohla. “‘Parasite’ Review: The Lower Depths Rise With a Vengeance.” New York Times, 10  

 Oct. 2019, www.nytimes.com/2019/10/10/movies/parasite-review.html. 

Joon-ho, Bong. Parasite. Neon, 2019.

---. Snowpiercer. RADiUS-TWC, 2013. 

Jung, Alex E. “Bong Joon Ho on Why He Wanted Parasite to End With a ‘Surefire Kill.’” Vulture, Vulture,  

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Williams, Raymond. Keywords: A Vocabulary of Culture and Society. Oxford University Press, 1976.

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