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由韓國導演奉俊昊執導的熱門電影《寄生蟲》（Parasite）是2019年韓國最熱門的電影，已經入圍奧斯卡最佳影片提名（拿下“最佳國際影片”獎項應該是十拿九穩）。該片在美國的票房有望達到2000萬美元，對一部非英語電影來說比較出人意料。電影的內容多元化，既是滑稽劇，也有感情戲，還反映了韓國令人心碎的收入不平等加劇現象。簡而言之，在這個貧富關系最緊張的時代，《寄生蟲》在全世界范圍都引發了共鳴。

更加值得注意的是，該片執行制片人李美敬是從三星剝離出來的CJ娛樂公司副董事長，也是三星創始人的孫女。換句話說，該電影背后最大的資助方是韓國最顯赫家族的成員，她的堂兄是三星電子的實際掌門人李在镕，也是《寄生蟲》中被妖魔化的社會精英典型。

對于CJ娛樂公司來說，支持《寄生蟲》和奉俊昊并非首次。更加重要的是，李美敬對藝術家向來支持，特別是在韓國備受關注的本土演員。 “過去10年左右，李美敬一直在冒險投資有風險的創新型電影?！奔又荽髮W伯克利分校東亞研究部研究韓國電影的教授安振秀（音）說道，他舉例稱，樸贊郁的《小姐》（The Handmaiden）和金知云的《好家伙、壞家伙、怪家伙》（The Good, the Bad, the Weird）兩部電影均由CJ娛樂公司發行。安振秀表示，盡管李美敬的背景是社會精英，但其領導的公司崇尚“自由和進步”，還稱贊她是“韓國最具影響力也最強大的女性電影制片人”。（財富中文網）

本文另一版本登載于《財富》雜志2020年1月刊。

譯者：馮豐

審校：夏林

Parasite, the hit film from South Korean director Bong Joon-ho, was the most talked-about movie of 2019 in its home country, a serious candidate for a Best Picture nod at the Oscars (and a presumed shoo-in for Best Foreign Language Film), and is on track to gross $20 million in the U.S., a windfall for a non-English title. The film checks multiple boxes. It is a hilarious farce, a boy-meets-girl tale with a twist, and a heartbreaking send-up of income inequality in South Korea. In short, Parasite has struck a chord worldwide at a time of maximum rich-versus-poor tensions.

It is all the more noteworthy, then, that Miky Lee, the film’s executive producer, is vice chairman of CJ Entertainment and a granddaughter of the founder of Samsung, from which CJ was spun out. In other words, the film’s top financial backer is a member of the most prominent family in South Korea—her first cousin is Jay Y. Lee, the de facto head of Samsung Electronics—the epitome of the social elite that Parasite demonizes.

For CJ, backing Parasite and Bong, whom it has financed before, is business as usual. What’s more, Miky Lee has a track record of supporting artists, particularly Korean actors who have crossed powerful interests at home. “Miky Lee has taken a risk in investing in dicey and innovative films for the past decade or so,” says Jinsoo An, a professor in the University of California at Berkeley’s East Asian studies department who studies Korean cinema. He cites Park Chan-wook’s The Handmaiden and Kim Jee-woon’s The Good, the Bad, the Weird, two films CJ distributed. Lee’s background notwithstanding, says An, her company is “liberal and progressive,” and she is “the most influential and powerful female film producer in South Korea.”

A version of this article appears in the January 2020 issue of Fortune.