Minari is a beautiful, absorbing and soulful film. One which follows a Korean family chasing an alternative to the American Dream – on the new frontier. Director Lee Issac Chung, whose first feature film since 2015 is Minari, has stated that it is a rough autobiography of his upbringing. Nonetheless, we follow Jacob, played by Steven Yuen (The Walking Dead) who migrates his family from California to Arkansas in the hope of following his dream- to grow Korean fruit and vegetables on his own farm. The elegance of this film lies in its themes of family, religion and most importantly the dream of assimilating to the ‘American’ lifestyle.
To those like me who had no idea what Minari is, it is an east Asian herb with the same qualities of water celery. Grown in the wild and treasured, its appearance in this movie is a sign of something mysterious and providential, however, it serves most purposefully as a beacon of hope for Jacob’s dream. Set amid Reagan’s administration, Jacob (who himself is a Korean migrant to the US), his wife Monica (Han Ye- Ri) and their two children, daughter Anne (Noel Cho) and son David (Alan Kim) arrive in Arkansas where Jacob makes a joyless but reliable factory wage in chicken hatcheries. Jacob has a big dream: get rich growing real Korean vegetables for the many Korean immigrants in the US yearning for a taste of home. Yet, as we see early in the film, Monica is already disappointed with this new, hard life he has given them. Han plays her brilliantly, as proud and self-contained but more importantly as an exiled princess. Yuen is detailed, profound and electric and as an audience, you share his burden, carry his happiness and feel for his losses.
The real show stopper is the introduction of Monica’s mother – played by Youn-Yuh Jung, Academy Award Winner for Best Supporting Actress. Jung marvels in playing the uncharacteristic nature of a ‘grandma’. Someone who cannot- as David demands- cook, bake or clean. Instead, she plays a canny, witty but loving character, one who gambles on cards, watches TV, swears and drinks Mountain Dew. Amongst all the subplots within this film, the relationship between ‘grandma’ and ‘son’ is a beautiful tragedy. David who is apprehensive of this alien figure grows to love his grandma however it takes a turn as her health begins to deteriorate. Credit must be given to the young Alan Kim for such a performance.
Issac Chung encapsulates the essence of a family going through hardship. It is hard to not notice Jacob’s and Monica’s failing marriage, although in one spectacular scene where the kids throw paper aeroplanes noting ‘please don’t fight’ into the loud, cruel fight, Chung familiarises audiences with hardships experienced by almost every family. Minari is not the typical immigrant story based on racial divide and difference. Whilst the issue of race is not overlooked, as seen in a scene at church when someone asks why David’s face is so flat, it is clear that Chung does not want race to be the centrepiece of the film.
A24 studios (Midsommar, Good Time, Mid-90’s) are known for their provocative indie films and Minari is a testament to the continuation of prized indie film-making. As a film, it demonstrates the universality of a family struggling to survive and wanting to thrive. Chung deals with the trauma of men and fathers when they feel that they have something to prove to supply for their family. But it’s also about roots, appreciating where you come from and how they provide the foundations for your morals and values. Minari flows at both a gentle, but rhythmic pace creating a boldness and confidence in displaying both an emotional and dramatic picture.
5 Stars
Image Credit: The MovieDB
