Minari: the Tale of Similize and Opportunity

The American Dream

Minari is a film about the tale of similize and opportunity. It is about the United States as the land of opportunity and the American Dream, about everyone being free to earn a fortune no matter who they are. One Korean family where the head of the family has bigger goals than being a lifelong professional observer of the sex of chicks. The head of the family wants to have his farm so he can cultivate various Korean vegetables.

The head of the family bought a large plot of land in a suburb and moved to live there. Apart from living in a trailer instead of an ordinary residential house, the family’s new life has not been easy. Various challenges faced the family’s head, from growing plants to fertilizing them to sell the produce. Also, their youngest child’s condition has a weak heart, and the mother keeps worrying about the child, so she prefers to live in a city with lots of people.

Lee Isaac Chung’s Semi-autobiography

The setup of Minari is straightforward, acting like a semi-autobiography tale about similize and opportunity because Lee Isaac Chung based the story on his childhood. He is the embodiment of David in this film, the youngest child. Apart from being very real, there are no comically evil characters or supernatural wonders, or blockbusters. Being closest as the antagonist is the situation, about the pursuit of the American Dream is not easy. So many problems arise around the family’s efforts to make a living on a farm. The honest answer and solution lie in all of them. Watching these families realize things about learning from him, compromising on circumstances. Minari is a fun yet heartwarming film.

The Confirmatory Assimilation

Jacob works on his farm on evenings and weekends, and Paul, a man he hires, is an evangelical Christian who tends to praise Jesus and speak in tongues. In contrast, Jacob does not believe in imaginary ideas and prefers to use logic and reasoning. Jacob’s response to the water fortune teller asks for a hefty price tag to search for his soil with a forked stick, identifying the ideal place for a well. He shoots off the hikers and uses the moment to test David, and his child knows the lower ground near the trees is a sign of clear water below. After the well dries up and the family learns the previous owner committed suicide after his farm failed, Monica allows Paul to clean their house with holy water and chatter prayers. There is a confirmatory assimilation measure that needs to expand.

David and His Grandmother

Minari got warmer when showing a relationship between the youngest, David, and his grandmother. They called her to stay and look after them, the youngest and his brother, while the father and mother worked. The relationship between David and his grandmother is one of the essences of themes other than the American Dream. The interaction scene made the audience’s heart flare-up, making emotions stirred up. There are funny, sad, and happy, which will mix and form a warm feeling in the heart. The ending as well talks much about how Minari has many meanings as a tale about similize and opportunity. When the youngest, due to a heart condition, made him believe he was unable to run, a burst of affection overflowed in his chest, running after him, to how these moments continued the emotion of feeling and lasted.

Poverty and Personal

The theme of poverty has colored the medium of film a lot from classical to modern. They are The Grapes of Wrath, The Bicycle Thief, and Slumdog Millionaire. Many of these films received high appreciation from both observers and festivals. There is nothing special other than the story is down-to-earth and personal. With a moderate tempo, the plot progresses according to the daily life of the Jacob family. Intimate yet touching moments are in the relationship between the grandmother and David. Amid adversity, small moments give warmth to themselves. For instance, the boy casually put his urine in his grandmother’s drink until his father punished him, but his grandmother still defended him.

Minari is a natural film in which there is nothing but a surge of experience and feeling. Emotions and feelings cannot represent or describe the truth. Apart from being a film with a pass, Minari as a tale about similize and opportunity is rarely shown or made in various mediums. It is about the life story, has no agenda or political content other than hope. Different makes one of the factors where it is not predictable because there are no expectations, but that plot points have a subtle end.

The script structure properly also has building points, a prominent theme while showing the ground from scratch. From such a powerful story, its nature does not get lost on the inside. It is like wading through the film stories. Cruising it is the same as in real life, knowing about the choice or path, but not knowing how in the future will happen other than just struggling to keep on the way. Minari, in short, is a wonderfully accurate tale.

A Not So-Called Peanut Tearjerker

Apart from not being overdramatic, Minari made no mistakes. It stays gloriously with its storytelling, where it plays with a feeling without being overwhelmed. In an opportunity to similize, amid the most emotional atmosphere for the two movie characters towards the final act, Minari does not necessarily become a peanut tearjerker tale. The problems and debates remain honest, and the audience understands the doubts of the two sides. One wants his family to be happy, but for him, the struggle is very personal. One is a proof of ability, while the other is like being torn apart but not because of disbelief. However, she conforms to living in the city and has a high value in social relationships. The conflict has become the climax of making life’s struggle to plant dreams even more real.

Cultural Appreciation

Minari has a meaning about life, not about meeting the needs of food, clothing, or shelter. Like caring for a plant, of course, it is not about watering; there is a matter of soil and all kinds. The land is like a hit with a place of life. It is a place of growth. The Korean family in the story is on American soil, and to survive, it is not enough to be independent, but there will always be social assimilation of fertilizer. In the end, Minari showed that a struggle does not have to be alone. Like the Minari plant, it can grow by adapting to the type of plant.

Minari plants are a representation of the story about not stopping trying to unite with alien life. Nor does the pursuit of the American Dream diminish the identity of a minority of cultural appreciation. On the contrary, the chase made the Korean family not forget themselves, where there was more and more Korean dialogue in the second half of the theme. Apart from internal conflicts, Minari as a tale about similize and opportunity is not a standard trap where the assimilation process opposes racism and stereotypes. However, Americans are very friendly and open to accepting Jacob’s family. Quickly, both the church and the local community got them.

Microaggression

The American people’s maximum resistance is only forms of microaggression or questions about stereotypes with the nature of developing. In one scene, the church congregation called Monica cute and sweet in a particular perspective; it could be a physical ridicule of Asians. When Anne asked him about Korean, the example was ordinary words like the American perspective with Asia. In short, Lee Isaac Chung shows that not all Americans look down on immigrants. The assimilation process conflict is an expectation and standard by the Jacob family. When these standards do not reach, they feel abnormal or deserving of being in America, which prompts them to continue pursuing the American Dream. Minari does not explain the focus on origin.

There are moments when showing the interaction between families and residents as individuals, such as the father and colleagues who are overly obedient or collective when going to church. There is no intention other than to increase the length of the story. Instead, these moments become one of the vocals of the theme. As Koreans and Americans learn from each other, Minari, besides being attractive, shows how strange one’s habits seem to the other. There could be some kind of oppression, subtle, of being friends. Beautiful social moments makes Minari even more natural and extraordinary when these moments fulfill everyday life-like reality.

The Turmoil’s Performance

Steven Yeun and Yeri Han got a part to feel the emotional turmoil that endured then overflowed, successfully bringing their respective characters to life. Alan S. Kim and Noel Cho also showed subtle and more loose passionate play apart from being Korean children born and having American souls. However, Minari is not a stereotypical trap about a child not respecting his or her own culture. There is layer by layer in character, managing to live and steal the attention. Youn Yuh-jung has a moral compass of his own apart from being the typical grumpy granny. In contrast, she is like a free-spirit of wishy-washy, mediates, and develops the ending and conclusion.

Minari managed to avoid becoming a lecture in which the head of the family, far from religion, believed more in his abilities. There are lots of scenes where he is in a religious environment and seeing what kind of reaction. There are differences, escalations, and responses from beginning to end, and it is the way to show the head of the family learning without looking at the speaker’s characters.

The Fundamental Contradiction of Minari

The contradiction between expectation and assimilation is fundamental; how to move from the area where one lives to offer various promises will undoubtedly be relatable with the Jacob family. Everyone has deep dreams. However, everyone also does not have a realistic execution plan, so they torment each other. Issues in Minari get into complexity when the audience does not look closely and will sound melodramatic. However, it is far from being clichéd. Most of its forms are comedy-dramas. It sets in a family setting. It is not so frenetic about parenthood, toxic relationships, but more like My Neighbor Totoro, The Farewell, The Father, and Nomadland.

Chung’s sentimental touch takes Minari to emotionally manipulative heights thanks to Emile Mosseri’s good points score. Apart from being inspired by Terrence Malick, Minari is beautiful, unique, and familiar for a film and the A24 distribution. Minari plugs are the times Chung seems to capture memories in films, such as beautiful photos of the family walking behind Jacob on the tractor and the scene where Jacob punishes David. Taken from Chung’s autobiographical story, Minari is a type of film about childhood memories like The 400 Blows. Apart from a level of assimilation, broad universality has a wide reach to find similarities among other cultures, such as many other Asian directors with openness, tenderness, and trademarks.

The Relatable of Opportunity

Nevertheless, Minari relies on a natural image and a cute atmosphere, contrasting the ghostly music of feeling. It is a journey of seeing life. Besides being raw but honest and excellent pacing, the theme of family struggles is very close, wanting to be friends with every character. Minari wraps a warm feeling and binds the hook with a sense of hope, assimilation, and the opportunity to be relatable.

Bibliography

About the author

Salman Al Farisi is the owner of Calxylian and is an elitist who has enjoyed and studied various mediums. He earned his Bachelor of Arts in 2020 from the Haluoleo University, Indonesia, where he studied English Literature, Film Criticism, Cultural Studies, Literary Theory, and Literary Criticism. He lives in Kendari in his mom's basement, now unemployed and ghostwriter, life with his cats, and is looking for the future.

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