Minari

Very nice. An A24 drama about a family of Korean immigrants trying to get a farm going in Arkansas, though the heart of the story is the relationship between the boy and his grandmother. It’s ideal when you’re looking for something to touch you, but not in a cheap way. What blew my mind, though, was the chick sexing thing, I didn’t know it existed. Dream job :D (19/01/2021)

And so the Yanks can check off their "Korean movie". You could say it's similar to the dramas we know from Korea, only a bit weaker, without a proper plot, without any surprising moments. I believe that viewers who are not used to Korean filmmaking, actors, and their habits and actions might be charmed by it. I do wonder where the added value is. Yeah, sure, there's the connection between the two countries, and that has its charm, but what else? I guess my expectations were too high. 3 stars. (28/08/2021)

Minari combines several timeless themes in an artful way: partner, family and intergenerational relationships, the theme of immigration, and the search for the "American dream" (for South Koreans). At times it reminded me a little of Marriage Story, but Noah Baumbach's film goes more to the core. I was particularly intrigued by the grandmother's character and her (initially awkward) interaction with her grandson – Yeo-jeong Yoon gives a really solid performance and also provides a few laugh-out-loud moments to balance out the dramatic line ("Ding dong broken!"). Story-wise, the film offers more than one symbolic moment to ponder, and in addition to its intimate setting, Minari also captivated me with its haunting musical score. A weaker four stars! (15/04/2021)

Minari et Nomadland ont un point commun : vous pouvez vous éloigner de l’écran pendant cinq, dix, quinze, vingt voire trente minutes et, à votre retour, vous ne remarquerez aucune évolution, aucun décalage, aucune trace de drame qui soit significatif. L’histoire suit son cours tranquille et les belles prises de vue s’enchaînent l’une après l’autre, mais il ne se passe rien de transcendant du côté des personnages. Il y a bien deux scènes plus dramatiques qui font impression, mais ça s’arrête là. Sa nomination aux Oscars pour le rôle masculin principal fait pâle figure aux côtés de celles d’Anthony Hopkins et de Gary Oldman. (25/04/2021)