The socioeconomic disparity is a dominant theme in the work of both Majid Majidi and Bong Joon Ho, with film narratives driven by economic hardship and class conflict. This is exemplified in ‘Children of Heaven’ (1997) and ‘The Song of Sparrows’ (2008) by Majid Majidi and in the more recent ‘Snowpiercer’ (2013) and ‘Parasite’ (2019) by Bong Joon Ho. My thesis is that, in all four films, doors function as a dominant chronotope of threshold, symbolising class division, not just as a representative image but also as a conceptual one.