Parasite generated more 'what to watch next' searches than any film since Oldboy. The correct answer to that search is not 'more Korean films about class' - it is 'follow the specific threads Parasite opened and see where they actually lead.'
Bong Joon-ho is one thread. Korean cinema is another. Class cinema internationally is a third. The production design argument is a fourth. Here are fifteen films across all four threads.
THE BONG THREAD - HIS FILMOGRAPHY IN ORDER
Memories of Murder (2003): Where the formal intelligence of Parasite was built. The procedural as a vehicle for something else. The final shot - watch it last - is directly in conversation with Parasite's ending.
The Host (2006): Genre cinema as family portrait. A creature feature in which the creature is almost incidental and the family's response to crisis is the film. The first time Bong's formal intelligence and his genre facility were at full power simultaneously.
Mother (2009): The peak. A woman fighting the legal system for a son who may be guilty. Hye-ja Kim. The opening shot and the closing shot are a formal argument the middle of the film has to earn.
Snowpiercer (2013): The class argument as dystopian genre film. The train as a formal image of class stratification - the tail section, the middle cars, the engine. Less formally accomplished than the Korean work; more immediately legible to Western audiences.
THE KOREAN CINEMA THREAD
Burning (Lee Chang-dong, 2018): The class anxiety of the person who can see the wealth above him but can't find its source. The most patient and formally precise Korean film of the last decade.
The Handmaiden (Park Chan-wook, 2016): Class as the condition that makes betrayal both necessary and impossible to execute cleanly. The three-act structure, each act retroactively changing the preceding ones.
Shoplifters (Kore-eda, 2018): The closest formal parallel to Parasite from outside Korea. A found family living outside institutional structures. The class argument is about the people the institution has abandoned.
THE INTERNATIONAL CLASS THREAD
La Haine (Kassovitz, 1995): The banlieues. Twenty-four hours. The countdown. The French class argument made with the formal precision that Parasite has in Korean.
I, Daniel Blake (Loach, 2016): The benefits system as the formal container for the class argument. The most formally direct statement of what the bureaucratic class system does to the people at its bottom.
The Florida Project (Baker, 2017): Poverty seen from a child's eye level. The specific way class deprivation looks when you don't have the adult vocabulary for it.
Sorry to Bother You (Riley, 2018): The class argument as surrealist comedy. A Black telemarketer discovers he can close sales by affecting a 'white voice.' The formal strategy of making the absurdity legible by making it literal.
THE PRODUCTION DESIGN THREAD
Knives Out (Rian Johnson, 2019): The Thrombey house as the class argument made through architecture. Every room in the house encodes the character and status of its occupant before they speak. The formal inheritance from Parasite is direct.
The Grand Budapest Hotel (Anderson, 2014): The hotel as a formal argument about class, nostalgia, and the specific way European aristocratic culture disappeared. Production design as the primary formal instrument.
Bong's own selection for understanding Parasite formally: Memories of Murder first, then The Host, then Snowpiercer. He described Parasite as the film where the formal threads of his career came together.
The correct answer to that search is not 'more Korean films about class' - it is 'follow the specific threads Parasite opened and see where they actually lead.'