Minari is so dream-like, we have to pinch ourselves to see if we aren't in fact the ones dreaming. It weaves seamlessly through the three generations depicted, and the tapestry created is one of a family brimming with love and resentment. Invisible bonds of duty and desire pull the adults to the point of breaking, but their family ties are equally as strong. Like the Korean plant referenced in the title, they seem to thrive if just given the smallest…
Leans into the absurdity of the situation full force, which I absolutely love. It doesn't try to idealize or shy away from the complexity of the issue, but still gives voice to the anger felt by so many that nothing is being done to combat the impending existential crisis that humanity is facing. The idea of having a live band and folk singers take a part in the movie was brilliant.
A film for our time.
I'm genuinely surprised that there was even an actual plot (and some interesting lore) for what amounts to a multi-round heavyweight fight. I mean, there's a freakin' bracket in the beginning credits, with Kong and Godzilla as the last standing. So the movie is under no illusions of what it is. And in that regard, it is entertaining.
The film doesn't beat around the bush, launching into the action quite early, and the exposition is kept to a minimum, not…
This was phenomenal and reminded me a lot of Sciamma's work, whose cinematic philosophy revolves around desire and the film as a collection of scenes as units of desire.
Director Claire Denis made the brilliant decision to let her narrator dominate most of the dialogue, reflecting back on a story from his past, and for her to represent that past through gorgeous imagery and complementary score in order to draw the viewer into the emotionality of the characters. This is…
