"Minari" (2020) has been generating buzz since it first premiered at last year’s Sundance Film Festival, where it won both a grand jury prize as well as a coveted audience award. Contributing to this excitement was a large marketing campaign from A24, whose films have become known for their eye-catching cinematography and thought-provoking concepts. The production company finally released the film to theaters and their virtual “screening room” on Feb. 12. Unlike awards-bait movies, though, "Minari" doesn’t feel like work to watch. Instead, it offers a portrait of a young family that provides a critical balance of comedy, drama and emotional beauty that allows its viewers to bask in its glory.
Set in the 1980s, the film follows a young Korean American family after their move from California to Arkansas. The father and chicken sexer by trade, Jacob (Steven Yeun), is intent on finding a better way of life where he can do something he’s proud of — starting a farm. He, alongside his wife Monica (Han Ye-Ri), is forced to deal with their son David’s (Alan Kim) heart condition, welcome Jacob's mother-in-law to their new home and adjust to the“hillbillies” of Arkansas, all while hedging his bets on the crops he hopes will be lucrative.
It would be wrong to categorize "Minari" as an American dream story; it deals more heavily with ideas around family and identity. Well-timed with current political zeitgeist, the film grapples with the concept of American identity. It redefines our conceptions of rural America — instead of bland, "Minari’s" world is beautiful and wholesome. In a fitting but unintentional reclaiming of the “Make America Great Again'' hat, Jacob frequently wears a red baseball cap when working on the farm. The film showcases how lovely the world can be in spite of the many hardships the family must confront.
“Family values” have, in modern times, come to be associated withbigotry and traditionalism. Here, writer and directorLee Isaac Chung redefines the term to advance the film’s understanding of Americana and turn this narrative into something more positive. In particular, the relationship between the grandmother Soon-ja (Yuh-jung Youn) and David is emblematic of that conflict. The two are frequently at odds, with the young, American-raised David at one point saying he would prefer a “real grandma” — one who makes cookies and doesn’t swear — over Soon-ja. However, as the movie progresses, a heartwarming relationship blossoms between them. The film is packed with sentimental moments, but these two, sometimes hilariously, embody the heart of the movie while dissecting what it means to be an American family.
The film also examines the roles of unity, financial success and passion in creating a successful family. While his new farm life provides Jacob with a happier life and a positive model for his children, it fails to offer the same financial security that his job at the chicken hatchery did. This central conflict, paired with Chung’s deliberate moves to show the beauty in intimate family moments, winds up delivering the more intellectual points of the film.
One of the best things about "Minari" is how much flexibility it gives you to experience it. On the surface, it is downright beautiful — on brand for A24 — and its characters provide many wholesome moments. However, it’s also jam-packed with powerful symbolism that lends itself to thoughtful discussion. Its religious imagery is especially potent, beginning almost immediately with a comparison to Jacob’s farm as the Garden of Eden. Its references to Genesis feel apt, given the role of Christianity in its broader plot about American identity. The naming of the local farmhand afterSaint Paul also feels like an intentional nod to the process of conversion that the Yi family seems to be experiencing. Despite being loaded with symbolism, "Minari" doesn’t have an agenda — there’s plenty of meaning, but Chung doesn’t require viewers to find it. There’s also room to simply enjoy the beauty.
The movie starts off slowly, and its more dramatic moments seem unevenly distributed. In the end, though, it works on several levels. Yeun and Youn deliver nuanced, intelligent performances and an eight-year-old Kim proves himself as a capable performer while capturing viewers' hearts. It would feel wrong to ignore emerging composer Emile Mosseri’s impressive work here, too. Of course, the crown jewel of "Minari" is its direction and cinematography, but its intimate performances and calibrated writing make it an absolute pleasure to watch.
