Parasite made class warfare fun to watch, right up until it wasn't. Bong Joon Ho stages the Kim family's infiltration of the Park household as a con artist comedy, then trapdoors the whole thing into horror and grief. Nobody else hops genres quite like that, so the smarter move is to chase the pieces: class friction under one roof, families surviving on schemes, social realism that tightens like a thriller. Shoplifters and A Separation get closest in spirit, and most picks come from the last two decades, where the conversation Bong joined actually lives. Three older films close things out, tracing where the class rage and the con man pleasure came from. Nothing here sticks the tonal landing the way Parasite does, but the order reflects how close each one gets.
Loved it? Read more about Parasite (2019), including cast, trivia, and its TML Score.

The other great family-of-grifters film of the decade. Kore-eda's clan steals to eat and chooses each other anyway, which makes the final reckoning land like a slow ambush.

One lie between an employer and his hired caregiver spirals until two families, one comfortable and one desperate, are grinding each other down in court.

Winter Sleep, under its Turkish title. A wealthy hotel owner debates his own decency for three hours while his tenants freeze, and never once hears himself.

Two students navigate a predatory black market in Ceausescu's Romania over one endless day. The camera refuses to blink, and the tension builds in near real time.

The one film here that shares Parasite's nerve for switching registers, sliding from fairy tale wonder to fascist brutality inside one grand household.

A lawyer takes on the police who erased a tribal villager from the record, and the courtroom fight that follows is procedural, righteous, and openly furious about caste.

Marianne is hired help in a wealthy house, and the film keeps noticing who eats with whom, who may speak, and whose story gets painted.

First of three deep cuts: Mifune's drifting ronin cons a divided town, hiring himself to both sides and profiting from the rot. Bong learned plenty from Kurosawa.

Parasite's infiltration montage is staged like a heist, and this is the heist film it descends from: a flawless plan undone by a single human weakness.

Eisenstein's sailors mutiny over maggoty meat while officers dine above deck. Every class-rage film since, Parasite included, borrows something from this one.