Da-song's ghost sighting foreshadows the revelation of Geun-sae living in the bunker while illustrating Bong Joon Ho's career-long thematic focus on the hidden, subterranean casualties of capitalism. In films like The Host and Snowpiercer, Bong consistently explores how marginalized populations are forced into dark, unseen spaces beneath the structures of the wealthy. When Da-song sees Geun-sae's face emerging from the basement stairs, he is not seeing a supernatural entity, but rather the literal underclass that supports the Parks' luxurious lifestyle. The tragedy is that the child's trauma is dismissed as a quirky artistic phase, and the physical reality of Geun-sae's existence is ignored. This fits perfectly into Bong's auteurist signature of blending genres; what begins as a lighthearted con-artist comedy suddenly shifts into a gothic horror story once the basement door is opened. The ghost is a physical manifestation of class guilt: the Parks live in comfort only because they are supported by a hidden, suffering foundation of workers whom they refuse to acknowledge, turning their dream home into a haunted house of their own making.■