由韓國(guó)導(dǎo)演奉俊昊執(zhí)導(dǎo)的熱門電影《寄生蟲(chóng)》（Parasite）是2019年韓國(guó)最熱門的電影，已經(jīng)入圍奧斯卡最佳影片提名（拿下“最佳國(guó)際影片”獎(jiǎng)項(xiàng)應(yīng)該是十拿九穩(wěn)）。該片在美國(guó)的票房有望達(dá)到2000萬(wàn)美元，對(duì)一部非英語(yǔ)電影來(lái)說(shuō)比較出人意料。電影的內(nèi)容多元化，既是滑稽劇，也有感情戲，還反映了韓國(guó)令人心碎的收入不平等加劇現(xiàn)象。簡(jiǎn)而言之，在這個(gè)貧富關(guān)系最緊張的時(shí)代，《寄生蟲(chóng)》在全世界范圍都引發(fā)了共鳴。

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

對(duì)于CJ娛樂(lè)公司來(lái)說(shuō)，支持《寄生蟲(chóng)》和奉俊昊并非首次。更加重要的是，李美敬對(duì)藝術(shù)家向來(lái)支持，特別是在韓國(guó)備受關(guān)注的本土演員。 “過(guò)去10年左右，李美敬一直在冒險(xiǎn)投資有風(fēng)險(xiǎn)的創(chuàng)新型電影。”加州大學(xué)伯克利分校東亞研究部研究韓國(guó)電影的教授安振秀（音）說(shuō)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(lè)公司發(fā)行。安振秀表示，盡管李美敬的背景是社會(huì)精英，但其領(lǐng)導(dǎo)的公司崇尚“自由和進(jìn)步”，還稱贊她是“韓國(guó)最具影響力也最強(qiáng)大的女性電影制片人”。（財(cái)富中文網(wǎng)）

本文另一版本登載于《財(cái)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 “l(fā)iberal 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.