Every once in a while, a hidden gem of a movie comes along and this year that film is Parasite. Of course, we shouldn’t expect much less from horror master writer/director Joon-ho Bong, who gave us Snowpiercer and Okja. But this one might be his best work yet.

Parasite tells a story an elaborate story about inequality, class, socio-economic status, and conflicting perspectives on life. Essentially, a lower-class family (the Kims) manipulate a wealthier family (the Parks) into hiring all their family members for various positions. Alas, when an unexpected interloper crosses their path, their seemingly brilliant and harmless plan turns in a wicked web of deception and death.

Let’s just say, audiences have no idea for the twists, turns, and overall thrills they are in for with this one.

But rest-assured the buzz around this film is real. It’s absolutely no surprise Parasite was awarded the Palme D’or at the Cannes Film Festival this past year, making Bong the first Korean filmmaker in history to receive the honor. Now people are asking: Will he take home an Oscar for Best Foreign-Language film? Original Screenplay? Many signs point to yes.

Not only does each cast member give an exceptional performance, yet a few stand-out performances include Woo-sik Choi, and his on-screen sister, So-dam Park — accolades should also be thrown toward the Kim patriarch, Kang-Ho Song- who becomes the Parks’ family chauffeur, casually planting little seeds of ideas and information into the Park family patriarch to enhance his own family’s motives.

Nonetheless, the mastermind behind the Kims’ plot of psychological warfare driven by economic survival is the youngest son, Ki-woo (Woo-sik Choi). As an opportunist, he persuades his family to go along with his plan once he gets presented with a job opportunity. Then, one by one the family replaces a necessary role on the family’s staff. Earning their trust, while keeping it secret that they are all family in fear they would lose their jobs if the Parks found out.

The deprivation of wealth between the Kim family and the Parks’ is more blatant than what is usually portrayed in genre films. Yet, the exposition and imagery help, not only invoke sympathy for the Kims and overlook their blatant deception for capital gain, but also aids in the subtle increase pressure that is the envy and resentment for what the Parks take for granted in their life of privilege. One roof, two very different perspectives. The Parks are thrilled for the rain; meanwhile, the Kims’ home gets flooded with sewer water and lose everything because of it.

Bong’s usual themes of his past filmography, such as characters being victims of their circumstances are prevalent throughout. Parasite is no different, except for the fact that its convoluted plot is brilliantly laid out with two families, living above one another with so many secret resentments- both literally and metaphorically.

But let’s be serious, if Bong’s past work has taught us anything it’s that he knows how to use a metaphor to leave audiences in awe.

Parasite speaks to inequality by addressing the widening gap between the rich and the poor across the world as a whole. Not to mention, an unpredictable plot that is sure to leave audiences guessing. Social commentary aside, the cinematography and original screenplay make the film worthy of the cliché “masterpiece” label.

In an effort to save our readers from any spoilers, we won’t dare tell you anymore. Except, if you only see one foreign language film this year, make sure it’s Parasite. Simply because it’s one of the most unique, unpredictable, and thought-provoking films to grace the silver screen in quite some time.