South Korean director Bong Joon-ho’s film Parasite (2019) which is very strong visually, also stands at a quite important place intellectually. The film problematizes the “concept of class" in a wealthy country where the income distribution between classes is increasing. It focuses the camera on the lives of social classes, and the relations with other classes. It sheds light to the unknown sides of social class; inter class and intra class relations that were analyzed by the Marxist theory several times. By presenting the "class” concept with images, Bong Joon-ho provides the intersection of philosophy and cinema. “Is it possible to talk about a class that always remains the same?”, “Are there other issues to consider other than class now?” The director deals with this very general and much discussed issue in a different way and again. The class problem in a post-industrial world is presented via the power of images rather than philosophical concepts and discussions. The questions “what is a class?” and “how is the relation between classes?” are not questions that can be passed off by a single answer and at the same time they cannot be handled through a single aspect. In this paper, it will be focused on thinking about the new form that interclass and interclass relations have received today.