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The 20 Most Heartbreaking Moments in A24 Movies
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Original, warm, tragic and fat with meaning, Lee Isaac Chungâs family drama is realistic yet magical
08 April, 2021 â By Dan Carrier
Alan Kim and Steven Yeun in Minari
MINARI Certificate: PG
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CRAVING new lives, fulfilling dreams â for the Yi family, who we meet as they pull up in a dark field with their worldly goods in the back of a truck, the morning will bring with it the chance to begin again.
But while a belief in a better tomorrow may nourish for the day, unfulfilled ambitions, if set high, can be toxic. Lee Isaac Chungâs majestic family drama has a clash of faith and reality at its heart.
In the Gently Moving Minari, a Korean Family Finds Home in America s Heartland Time 2/26/2021 Stephanie Zacharek © Josh Ethan Johnson A24 From left, Steven Yeun, Alan S. Kim, Yuh-Jung Youn, Yeri Han, Noel Cho in Minari.
Most stories about immigrants adjusting to America take place in cities, environs where a newcomer may already have family or friends, or at least be able to find a community. The family in writer-director Lee Isaac Chung’s
Minari takes a different route: Jacob and Monica (Steven Yeun and Yeri Han) have come to America from Korea to seek better opportunities we don’t know much more than that. But we do learn that Jacob has a dream of growing things, of being a farmer. Jacob, Monica and their two young children, David and Anne (Alan Kim and Noel Cho), have lived for a time in California, but as the movie opens, we see them driving to what will be their new home: A blocky rectangle of a house propped on cinderblocks, adjacent to a str
Most reviews of
Minari, the Korean-American film about a family settling in 1980s Reagan-era Arkansas, describe the two-parent, two-child-plus-grandmother characters as “immigrants.” This is not accidental. Reviewers interpret the film as confirming their sentiments about the immigration crisis, even if it means overlooking that the characters actually are U.S. citizens. Fact is,
Minari is a nostalgic, semi-autobiographical film, written and directed by Lee Isaac Chung, a Yale graduate who was born in Denver, Colo.
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When reviewers condescend to
Minari’s ethnic exoticism, it illustrates how political fashion continues to warp contemporary film culture. Reviewers (they’re not really critics) refuse to acknowledge that Chung’s tale is about all-American striving. Because reviewers prefer to see ethnicity first, they don’t recognize
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