It is estimated to be difficult. Regardless of the director's qualifications or the entertainment of the work, this "Minari" still lacks enthusiasm, and it is difficult to gain the advantage of the right time and place at the Oscars like "Parasite". Only the performances of the actors are worth watching. The actor Steven Yuan, the heroine Han Yili, and the two young actors are all remarkable. They portray a Korean immigrant family struggling to survive in the United States . Steven Yeun made history by becoming the first Asian-American actor to be nominated for an Oscar for leading actor. Of course, the most eye-catching is Yin Ruzhen . This powerful actor who has worked with famous Korean directors such as Jin Qiyong, Hong Changxiu and Lim Changshu has swept many Best Supporting Actress awards in the awards season before, and she is expected to become Oscar history. The first Korean to win the performance award, and the success of Korean filmmakers after "Parasite".
Having said that, in fact, these two works are the themes favored by Oscar in recent years. "Parasite" focuses on class antagonism and solidification, while "Minari" focuses on Asian immigrants. In the current environment of growing hatred of Asian Americans in the United States , this work has practical significance that cannot be ignored. Although both films are telling the stories of Koreans, "Minari" is more closely related to the United States. From the perspective of director background and work style, it is more inclined to American independent films . Director Lee Isaac Jung, himself a descendant of Korean immigrants, gained attention in 2007 when he won an award at Cannes for his debut feature on the Rwandan genocide.
"Minari" tells the story of a Korean immigrant family starting a new life in Arkansas, the United States in the 1980s. From the perspective of content, it is more or less integrated into the director's real background experience. This " American Dream " narrative coat naturally becomes its Sweet treats during awards season. The title of the film "Minari" means water celery in Korean. This core symbol appears many times in the film, and the meaning is straightforward. It not only helps the family get through the plight of water shortage, but also alludes to the Korean people's Toughness and adaptability. There are more similar symbols: the rooster in the hatchery, the loophole in the son's heart, the last fire, etc., which constantly trigger the audience's association between the characters' fate and the environment, which is the director's more successful point.
However, the immigrant family's dream-chasing tale is far too rambling compared to Parasite's wild script creativity and entertaining comedy and thriller atmosphere, with snippets of everyday life and innocuous sense of humor forming the main narrative. The first hour was a bland plot, centered on the father's entrepreneurial start, with an interesting confrontation between the grandmother and the grandson, and the next hour was followed by dramatic turns that pushed the family's "American Dream" to an unexpected climax and ending. I feel that the director has twisted the two narrative styles of East Asian family themes and American independent films together, and the rhythm is not natural and smooth. Another disadvantage is that the film involves too many topics: cultural differences, marital conflicts, children's growth, religious beliefs, family bonds, etc. Unfortunately, none of them can be described in depth, but only a shallow taste. As a director's semi-autobiographical memoirs, these are perhaps the most cherished details of the director, but they lack the choreography and emphasis they put on.
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