TL;DR Carried by the powerhouse performances of Yeun, Han, and Young, Minari is the quintessential portrayal of the Asian American immigrant story that finally gets to be told unfiltered and unwatered down by the prototypical whitewashing of Hollywood films about Asians in the past.
Throughout the majority of its history, Hollywood has been dominated by white actors/actresses portraying white stories. There have been several instances throughout history in which Hollywood has faced racial backlash over its lack of diversity. Up until recently, this backlash was largely ignored as minority movies were sprinkled in throughout the larger diaspora whilst glazing over the pervasive issue of vertically integrated homogenization. In the past, Asian experiences were often whitewashed either by importing and remaking Asian stories or even worse, casting white actors in Asian roles. With that being said, Minari feels like a long-overdue breakthrough. It is an empathetic and heartfelt example of the immigrant experience and serves as mandatory viewing for its portrayal of what it means to be Asian American and 2nd generation overall.
Told in largely anecdotal experience from writer/director Lee Isaac Chung's own childhood memories, the beauty in Minari comes from its simplicity and relatability. Ten years ago, studios would've forced Minari to be dubbed in English, but the Korean dialogue keeps it fresh and authentic to the experience of growing up with immigrant parents. There is nothing in particular that makes Minari stand out, but perhaps that is kind of the point. Minari feels like the quintessential movie about the Asian American experience finally without compromise--a mostly Asian cast with half the movie in Korean, Minari doesn't shy from its cultural differences, it displays them boldly for all to see, showcasing them as the centerpiece of the story. For all of the ways in which growing up Asian in America is different than growing up white, both experiences stem from our shared desires with Americans and people around the world in general: a goal of self-sufficiency and the desire to provide the best life possible for children and family. The interchangeability between the Korean family's story with that of their white counterparts is intentionally the point.
Sewn together through the experiences of a Korean family moving from California to Arkansas in search of a better life, Minari speaks to entire generations of Asian Americans who have long lived out their lives in similar ways while staying largely silent about it. Steven Yeun plays off of the dynamic with his wife, Han Ye-ri beautifully. One way in which the Asian mentality differs from that of the mainstream American mindset is in the way we treat our elderly. In Asian cultures, it is the obligation of the children to take care of their parents and grandparents in their old age and so of course, Minari would not be accurate without the inclusion of standout Young Yuh-jungs portrayal of the grandmother. With the wave of discriminatory crimes targeting Asians sweeping the nation, Minari is a timely reminder that what binds us all together as humans is greater than our differences. For all of its simplicity, Minari is visual poetry not only through its content, but largely through its form and the very manner in which it has willed itself into existence.
It's the story of a man moving with his family for a version of the AMerican dream. It deals with themes of loyalty, perseverence, irony, and loss. It sounds like many other stories told in the American diaspora, but Minari is different because it IS a Korean farmer, whose experiences are largely the same with subtle but distinguiable differences; it's beauty is its nuance. Those differences however small, matter in Minari's world as well as the surrounding one we find ourselves in. Representation matters and Minari proves that Asian and minority stories can shine, if only given the representation they surely deserve by now.
Enjoyability 8.5
Story 7.5
Acting/Directing: 8
Production Value: 8
Overall: 8 out of 10
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