![]() ![]() In all this, Chung’s visual vocabulary stands out as the master narrative engine: It retells the story of the American dream, not as a progressive triumph or debilitating failure, but as a peculiar and cyclical mix of allure and disappointment, absorption and distraction, allegiances and betrayals. ![]() He’s bolstered by an ambition that he privileges more than anything in the world (perhaps even more than the family that the dream is meant to benefit in the first place), but he’s also keen to hold onto his roots. Read: ‘Minari’ will draw you in with its beautiful little details Through the everyday objects in the film and the small moments in the Yis’ daily lives, we start to discern this double melody at the heart of Jacob’s aspirations. The small television in the Yis’ home, for example, is the trigger for an exquisite scene of mundane domestic heartbreak, and a subtle example of the interplay between American mass consumption and diasporic longing. The grandmother (Yuh-Jung Youn) at one point watches a video of a Korean vocalist singing some love ballad. She tells the kids that it used to be their parents’ favorite: “Whenever someone made your mom and dad sing this song, they’d get all lovey-dovey.” A distant look comes into the eyes of the young wife, Monica (Yeri Han). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |