SEOUL, Director Yeon Sang-ho dedicated considerable time to contemplating how to convey the theme of coexistence in the Netflix sci-fi series “Parasyte: The Grey.”
“Every creature coexists with one another. I focused on delivering the delicate concept of parasitism and interdependence,” he explained during a media interview Tuesday, four days after the original Korean series premiered on the streaming platform.
“It is portrayed that villains in the series lead a parasitic life, whereas the protagonist Su-in comes to realize she should coexist and rely on the foreign being inside her,” he said. “You may think the two are the same thing, but actually, there are nuanced differences.”
Adapted from the mega-hit Japanese manga “Parasyte” by Hitoshi Iwaaki from 1989, “Parasyte: The Grey” follows the events unfolding in Korea as the human race falls victim to hungry parasites that silently take over human bodies by permeating through the brain.
Su-in, played by Jeon So-nee, undergoes a disturbing transformation i
nto a hybrid being, half-parasite and half-human, following a near-fatal accident, when the parasite, Heidi, latches onto her body. However, Heidi fails to gain complete control, leading to a bizarre coexistence between the two entities.
The director said his adaptation narrates the story of parasitic creatures attacking the human race, which unfolds in South Korea, concurrently with the events depicted in Japan in the original manga series.
He expressed relief at the series’ positive initial reception in Japan, where the manga has sold over 20 million copies.
“I believe Japanese fans appreciated my efforts to honor the original’s universe and reflect its core theme of coexistence between humans and parasitic beings in the spin-off,” he said.
The director intentionally kept a distance and limited interactions between Su-in and Heidi to more effectively deliver the overarching message of mutual understanding between them.
“I aimed to depict their gradual understanding of each other in a dramatic manner,”
he said, emphasizing that the challenge of communication between them would enhance the desired effect.
Yeon gained recognition for his distinctive cinematic universe, often referred to as the “Yeon-niverse,” which includes acclaimed films and series, such as “Train to Busan” (2016), “Hellbound” (2021) and “The Bequeathed” (2024).
While he enjoys catering to mainstream tastes with his films, he expressed a desire to create more unconventional works in film and television later in his career.
“Honestly, I don’t have a very mainstream taste. In fact, I am quite far from it,” he said.
“I often find myself at odds during the compromise-seeking process. It’s a roller coaster of positive energy and breakdowns for me.”
Source: Yonhap News Agency