The film uses vertical space to map the socioeconomic hierarchy of modern capitalism directly onto the physical environment of Seoul. This spatial architecture divides the characters into three distinct tiers: the Parks at the top in their sunlit, elevated hilltop mansion; the Kims in the middle-lower tier within their semi-basement, which sits halfway between the street level and the subterranean world; and Geun-sae at the absolute bottom, hidden in the windowless bunker deep beneath the mansion. The journey between these spaces is always marked by vertical movement. During the torrential rainstorm sequence, the camera follows the Kims as they run down an endless series of staircases, tunnels, and steep streets, visually demonstrating their descent back to their true class level. Water flows downward, illustrating how environmental disasters accumulate at the bottom, sparing the high-altitude wealthy while drowning the poor. This verticality exposes the myth of social mobility: climbing up the stairs requires immense, exhausting effort and deception, while falling back down is rapid and inevitable. The architecture of the city itself acts as a physical cage, ensuring that those at the bottom remain buried while those at the top enjoy the light.■