MINARI is lovely, do go and see it if you get the chance. The film is exactly what one would expect. There are no innovations here with the plot, no tricks or flashy filmmaking. It is an honest, simple story that connects to real human needs, fears, and frailties. In one way it is universal. Even though it is set in 1980’s Arkansas, it could easily be a tale of westward expansion from 100 years before. It is a story of starting over and the hard physical and emotional toll that takes. It is the American gamble that you can still make your life better. And it is a universal immigrant story that is also fundamentally American. In this case it is about being Korean in America; food, language, family, traditions, expectations, and the unavoidable generational conflict that comes with being transplanted. I also credit the film for being a little kinder about Southerners than I might have been. But the story isn’t about us, so I won’t make the review about us either.
…an honest, simple story that connects to real human needs, fears, and frailties.
The accomplishment here really is character and performance, and the filmmaker knows this. The director, the DP, production designer and editor are all taking a back seat and allowing the actors to be the point. None of it pulls your focus, or strays into “art.” That doesn’t mean the work of these departments isn’t artful, but it is the balance of priorities that make it so skillful. Being good at these crafts means being quietly confident in your contribution and knowing when it isn’t about you. This is a film that could also have easily drifted into a lot of Sundance cliches, and it doesn’t. The simple honesty keeps it from tipping over into hipster pretension.
Cute kids are always a risk. They can fall flat from being unrealistic, or become cloying and manipulative. Alan Kim is just right. He is adorable, but the film never pushes that, or tries to sell you on it. Directing young kids can be tricky and getting a good performance from them is as much a function of how you treat them and relate to them, as it is a function of their innate skill. It would appear that the filmmaker has found a young person with some gift for openness and availability, but I would credit director Chung with creating an environment where that openness can shine. And with knowing just how to utilize his young star.
Also surprised to see Brad Pitt as executive producer. I have seen zero press about his involvement with the production and that raises my respect for him a notch. As with all other aspects of this production, he too seems to know when it isn’t about him. Silent support is kinda classy. So is nurturing other people’s talent.
Go see MINARI while it is still available. It’s two hours and $12 you won’t regret spending.
7.7
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