‘Minari‘, the autobiographical film written and directed in 2020 by the American filmmaker Lee Isaac Chung, a son of Korean immigrants, has some beautiful moments and quite a lot of cinematic qualities. It is an immigrants story, one of the millions of episodes that have built throughout history the complex mosaic of the American nation and history. It is also a family drama evoking episodes related to the economic adaptation and the overcoming of the psychological and cultural barriers that so many immigrant families have faced and are facing. It’s a good film that deserves to be watched, but which also has weaker points related to the lack of epic breath and character development, with too many aspects within the limit of the predictable. The amount – exaggerated in my opinion – of awards and nominations with which this film was overwhelmed seems to me to be more related to the specific moment the American film industry goes through and to the ensemble of the productions offered to the public this year which is so different of the previous ones.
The story in ‘Minari‘ takes place in the ’80s. Jacob (Steven Yeun) and Monica (Yeri Han) move to Arkansas from California, where they spent their early – not very successful – years as immigrants. They bought a piece of land that may be fertile, with only a caravan on it, and began to work hard to achieve their dream of growing Korean vegetables in the heart of the United States. Meanwhile, in order to meet ends they take day jobs in a chicken farm. They have two children, a teenage daughter and a younger boy who has heart problems, and after a while they are joined by Monica’s mother. Economic pressures and social isolation are beginning to make their effects felt on family life and the relationship between the two. Neighbours are not necessarily hostile to them, maybe just indifferent, maybe just clumsy in approaching them and creating social ties despite language and culture barriers. I will not go into more details about the story so as not to rob the future viewers’ pleasure. Placing the story of the film almost four decades ago, screenwriter and director Lee Isaac Chung avoids comments and direct references to the current situation of immigrants, specifically those coming from Asia, and the way they are received and integrated into America today. I am sure that the spectators will make the connections themselves, and those who have gone through the experiences of emigration will recognise many of the situations and attitudes.
What I liked? ‘Minari‘ is beautifully filmed and illustrated musically and excellently acted. Aside from the two lead actors who finely portray the dynamics of the relationship between the two spouses, I can’t help but mention Will Patton, one of those American actors whom I recognise from dozens of supporting roles and who I hope will he someday get s a leading role up to his obvious talent. Here Patton plays the role of Jacob’s partner, a man with a big heart, who carries his cross, literally, at certain moments. The film is mostly spoken in Korean, and this choice, far from being a gimmick or an attempt to fill a quota imposed by Hollywood, gives the film authenticity. My family is also one of immigrants in a foreign language country, and this is exactly what our linguistic mixture between the languages of the old and the new homeland looks like. Family issues related to economic pressures and intergenerational conflicts, and relationships with neighbours, including prejudices and naiveties, as well as the role played by the church in bringing newcomers closer to the community, are sensitively portrayed. What I liked less? The film has emotion, but lacks narrative consistency. The sincerity and simplicity of the approach works well at times, but falls into melodrama at some other moments. For this reason, the scenes in which children are involved, which often save films and raise the emotional level, seem at some instances melodramatic here. The qualities of ‘Minari‘ are exactly the reasons that take it out of the category of films that collect many Academy Awards, but given that we are in an unusual year (also) for cinema, who knows?