Not surprisingly, this year's Oscars are my personal favorite (haven't finished all of them yet). Last year's Parasite refreshed the world's perception of Korean films. This year, although Minari is set in the United States, the content has not diminished the existence of Korean culture. I feel, unlike some Korean films that try to imitate Hollywood, they have lost their own unique cultural core after learning a little. The director has a background in light and shadow, and the grasp of color and light and shadow is enough to bring visual enjoyment. Some people criticize it for being too personal, but I think that's what makes it realistic, right? The stories of immigrants may be similar but not the same. His family is also one of thousands of immigrants, and the plot of the movie does not prevent much from the small to see the big. The metaphor is subtle but not difficult to understand, useless rooster cubs will be processed and turned into ashes, alluding to the survival challenges and competitive pressures of immigrants in a foreign society; Minari can grow hard at any water's edge and symbolize some of them Valuable resilience. What exactly is the "American Dream" of immigrants? The pull of nostalgia, the temptation of money, the challenge of faith, the test of dignity... It was in the 1980s, when Asian couples left their homes and came to America with the dream of changing the fate of their families with their own hands in that vast land. However, life hit them hard, and the fire almost took everything, but cress grew silently by the water. The contradiction between grandparents and grandchildren is actually the possession of cultural conflict, grandmother with Korean taste, unpleasant traditional tonic... The value conflict between husband and wife, the husband is eager to move from the dim factory to his own land, the wife is for the son's body Just looking for a stable income and a convenient address... Today, how many immigrants are working in the vast American land, still facing constant challenges, challenging their homesick, their wallets, and even their dignity with faith. If they didn't do Minari, they could be burned to nothing at any time by the unsuspecting flames. The movie reached the climax of the plot in the last ten minutes (Steven Yuan and Huo, it's hard not to think of "Burning"), and the hearts were pulled. In the end, everything was calm, the cress swaying in the wind, the life Going on, it also fits in with what the director said this is a movie about life. It's just a microcosm of the era and a group of people in it.
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