---
title: "Minari"
year: 2021
kind: "film"
canonical: "https://film.one/film/minari"
fi1m_score: 84
critics_score: 83
critics_reviews: 25
published: "2026-09-20T08:01:00.279298+00:00"
updated: "2026-09-20T08:01:00.760876+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Minari (2021)

Directed by Lee Isaac Chung · 1h 55m · MPA PG-13 · Drama

**Fi1m score: 84** · Critics 83 from 25 reviews

*In a sentence:* Grandma won’t bake cookies, Dad won’t listen to the dowser, and the house is on wheels

> Lee Isaac Chung’s story of a Korean family farming in 1980s Arkansas is patient, exact and kind to everyone in it. Youn Yuh-jung’s grandmother is the reason to see it; a hurried last half hour keeps it just short of the top.

## Synopsis

In the 1980s, Jacob Yi (Steven Yeun) moves his family from California to a plot of Arkansas farmland and a mobile home on wheels. He means to grow Korean vegetables and sell them to the grocers in Dallas. His wife Monica (Han Ye-ri) wanted a house with a foundation and a hospital within reach, because their son David (Alan Kim) has a heart murmur and is not allowed to run. By day both parents sort chicks at a hatchery. Jacob refuses to pay a dowser and digs his own well, and a neighbour, Paul (Will Patton), a Korean War veteran who carries a cross along the road on Sundays, comes to work the field. Then Monica’s mother Soonja (Youn Yuh-jung) arrives from Korea to mind David and his sister Anne (Noel Kate Cho), and David decides she is not a real grandmother.

## Review

Jacob Yi (Steven Yeun) has moved his wife and two children from California to a stretch of Arkansas in the 1980s, where a mobile home on wheels waits at the end of a dirt track. He wants to grow Korean vegetables and sell them to the Korean grocers in Dallas. Monica (Han Ye-ri) wanted a house with a foundation. Lee Isaac Chung, who wrote and directed, grew up in something like this, and the film has the feel of memory: the small things remembered exactly, the big things seen from a child’s height.

The child is David (Alan Kim), who has a heart murmur and orders not to run, and most of *Minari* is his. His parents spend their days at a hatchery sorting chicks, and Jacob explains to him that the males are no use and are thrown away, so a man must make himself useful. That is the whole of Jacob in one line, and Yeun plays it straight: proud, stubborn, and mostly wrong about water. Han Ye-ri gives Monica a tired watchfulness; she is the one counting the money. Their rows happen in the kitchen while David and Anne (Noel Kate Cho) fold paper aeroplanes with “Don’t fight” written on the wings and launch them down the hall.

Then the grandmother arrives. Soonja (Youn Yuh-jung) comes from Korea with chilli powder and dried anchovies in her luggage, swears at the wrestling on television, plays cards for money with the children and does not bake anything. David, who has been told on good authority what grandmothers are, is appalled. Youn plays her with no bid for our affection at all, which is why we gave it. The film is funniest when the two of them are stuck in a room together, and it is best when she takes him down to the creek and plants minari seeds along the bank, telling him it grows anywhere and that rich and poor eat it alike. It moved us more than we expected, and what did it was how little Chung does: no swell of music, no cut to a meaningful face, just an old woman crouched in the mud and a boy pretending not to be interested.

Lachlan Milne shoots the land in late afternoon light, the grass chest-high on the children, and keeps the camera low so the field and the sky both look too big for the people standing in them. Lee Yong-ok’s production design gives the trailer a set of wooden steps that sit loose on the grass, and Monica’s face on first seeing them saves the script a page. Emile Mosseri’s score is piano and a wordless voice that drifts in over the fields and stays out of the trailer, which is the right way round. Harry Yoon cuts slowly and holds on Jacob standing over a dry ditch long enough for us to work out exactly how much he has bet on it.

Will Patton’s Paul is the one figure who could have gone wrong. He prays over the crops, points out demons in the corners and hauls a cross along the road on Sundays, and Patton keeps him a real man rather than a local colour. The church the Yis attend is handled the same way: the congregation stare, a boy asks David why his face is flat, and nobody is a villain. Susanna Song dresses the family a shade too formally for a room full of shirtsleeves, and that is the scene.

Our reservation is the last half hour. After ninety minutes of letting things happen at the speed of weather, Chung stacks trouble in the field and trouble in the trailer on the same evening, and we will not say what. It is written to arrive on time, and you can feel the furniture being moved. Monica, who has been the sharpest pair of eyes in the film, is handed a speech to explain a decision we had already understood from her face. Most critics wave this through on the way to calling the film a classic. We think the first ninety minutes are as good as they say and the last twenty-five are merely good.

It is a 12 certificate and runs 115 minutes. See it with your parents if you still have them, or with children who will grumble about the subtitles and then go quiet the moment the grandmother sits down to cards.

*Fi1m score 84, published 20 September 2026.*

## What the critics say

The reviews are strongly favourable, with twenty-three of twenty-five positive. Most critics call it gentle, tender and truthful: a portrait of a Korean immigrant family on an Arkansas farm in the 1980s, drawn from Lee Isaac Chung’s own childhood, and they credit that footing for its specificity. Praise clusters on the acting, and on Youn Yuh-jung’s grandmother above all; her scenes with young Alan Kim are singled out repeatedly as the film’s comic and emotional centre. Chung’s writing and unhurried direction come a close second.

The spread is narrow. Where reservations appear they concern the plotting: several critics find the late run of incidents piled up or too neatly resolved. The Hollywood Reporter feels the third-act crisis is not properly worked through, and Slant Magazine argues the tidiness undercuts the mess of the family’s situation. The lone hostile voice is The New Yorker, which finds the storytelling conventional and the technique impersonal, so that personal memory is flattened into familiar drama.

### Reviews we read (25)

- **Little White Lies**, Kambole Campbell (4/5/4): The critic finds it a gorgeous semi-memoir of immigrant resilience and the pains of assimilation in 1980s Arkansas. Praise is given to Chung’s writing and direction plus the lively grandmother performance that anchors the family’s emotional core. [Read](https://lwlies.com/reviews/minari)
- **The Independent**, Lindsey Bahr (4/4): The critic calls it an essential, universal portrait of a Korean-American immigrant family based on the director’s childhood. It praises the specificity of the delicate tale that makes viewers fall in love with the Yi family immediately. [Read](https://www.independent.co.uk/news/review-an-essential-portrait-of-a-family-in-minari-david-steven-yeun-minari-kids-anne-b1800607.html)
- **Time Out**, Phil de Semlyen (5/5): The critic calls it an irresistible delight and a beguiling family drama of heartache and hope. They single out the elemental performances, especially Yuh-jung Youn’s force-of-nature grandmother, and the film’s Malick-like exploration of land and connection. [Read](https://www.timeout.com/movies/minari-2021)
- **Empire**, Terri White (90/100, inferred): The critic calls it a profound, detail-perfect and soulful slice of American family life with some of the year’s most sincere performances. It praises the lightness of touch in familial scenes, the autobiographical elements, and the confident, unmanipulative pacing. [Read](https://www.empireonline.com/movies/reviews/minari/)
- **Evening Standard**, Charlotte O'Sullivan (90/100, inferred): The critic calls it the most consistently entrancing drama of 2021 and one of the cheapest Oscar contenders. It singles out the script’s unflinching yet compassionate handling of family pain and flawed characters, especially the mother. [Read](https://www.standard.co.uk/culture/film/minari-review-oscars-parasite-b926991.html)
- **IndieWire**, David Ehrlich (90/100, inferred): The review highlights the film's gentle and sweet tone alongside its staggeringly powerful depiction of an immigrant family's pursuit of the American Dream. [Read](https://www.indiewire.com/criticism/movies/minari-review-sundance-1202206360/)
- **Los Angeles Times**, Glenn Whipp (90/100, inferred): A gentle, truthful and tender story of family that feels like a balm, with quiet grace, vivid texture and universal insights into resilience conveyed through a child's perspective and strong performances. [Read](https://www.latimes.com/entertainment-arts/movies/story/2020-12-10/minari-review-steven-yeun)
- **RogerEbert.com**, Matt Zoller Seitz (90/100, inferred): Chung's autobiographical drama is a lovely, unique film that captures the tensions of assimilation and independence in an immigrant family's story with truth and complexity in every moment. [Read](https://www.rogerebert.com/reviews/minari-movie-review-2020)
- **Variety**, Peter Debruge (90/100, inferred): A deeply personal and poetic rendering of Chung's Korean American childhood in rural Arkansas that benefits from maturity and perspective, with an all-around terrific ensemble making the characters easy to love. [Read](https://variety.com/2020/film/reviews/minari-review-1203484467/)
- **The Guardian**, Peter Bradshaw (85/100, inferred): The critic finds Lee Isaac Chung’s film an enchanting and moving drama that balances feelgood elements with gritty realism in its portrayal of a Korean immigrant family’s struggles on a farm in 1980s Arkansas. The standout element praised is the scene-stealing performance by Youn Yuh-jung as the grandmother, whose energy and chemistry with the young lead create a tragicomic spark. [Read](https://www.theguardian.com/film/2021/apr/04/minari-review-lee-isaac-chung)
- **The i Paper**, Christina Newland (85/100, inferred): The critic describes it as a profoundly moving family tale destined to endure and become a classic. It highlights the honest, non-precocious portrayal of the children and the film’s balance of specific immigrant experience with broader human allegory. [Read](https://inews.co.uk/culture/minari-review-a-profoundly-moving-family-tale-that-will-endure-938552)
- **Screen Daily** (80/100, inferred): The critic describes a loving, delicately crafted portrait of a Korean-American family struggling in rural Arkansas. They praise Chung as a talented humanist storyteller whose affection for the characters and setting shines through every frame. [Read](https://www.screendaily.com/reviews/minari-sundance-review/5146533.article)
- **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): The critic praises the film's warm observation of a Korean immigrant family's struggles in rural Arkansas and its gentle humor, while noting some shortcomings in resolving the third-act crisis. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/minari-review-1273558/)
- **The Times**, Kevin Maher (★★★★☆): This awards-season darling is praised as a must-see drama with flawless acting and a beautifully worked script that authentically depicts the slow-motion implosion of a marriage amid farming hardships. The critic singles out the impeccable performances, especially the comedic sparks from the grandmother character, while noting minor pacing issues before a cathartic finale. [Read](https://www.thetimes.com/culture/film/article/minari-review-flawless-acting-deserves-oscars-buzz-sn8h00rdv)
- **Vulture** (70/100, inferred): The critic describes the film as a deceptively gentle immigrant drama that uses careful details to convey loneliness and builds to a devastating, bittersweet emotional crescendo. [Read](https://www.vulture.com/article/minari-movie-review-a-gentle-immigrant-drama-set-in-u-s.html)
- **Slant Magazine**, Pat Brown (50/100, inferred): The review calls the portrait tender but criticizes its overly neat plotting, which undermines the messiness of the family's situation while offering a Korean American spin on familiar American Dream themes. [Read](https://www.slantmagazine.com/film/minari-review-lee-isaac-chung-steven-yeun/)
- **The New Yorker**, Richard Brody (40/100, inferred): Conventional storytelling and impersonal technique reduce the film's personal observations to familiar dramatic conventions, resulting in a reductive and illustrative drama that lacks depth and subjectivity. [Read](https://www.newyorker.com/culture/the-front-row/minari-reviewed-a-strangely-impersonal-tale-of-a-korean-american-boy-in-arkansas)
- **The Skinny**, Katie Goh (★★★★★): The critic commends the graceful direction and standout performance by Youn Yuh-jung as the beating heart of this family drama. They single out its melancholic exploration of hyphenated identity and the question of where home truly lies. [Read](https://www.theskinny.co.uk/film/new-releases/minari-review)
- **Collider**, Matt Goldberg (A-): The film turns inward to explore family struggles and blended Korean-American identities rather than focusing solely on immigrant experiences in a new place. It balances child and adult perspectives with empathy, humor, and honesty about marital and generational tensions. [Read](https://collider.com/minari-review-steven-yeun/)
- **The Playlist**, Gregory Ellwood (A-): Praises the exquisite family drama with strong performances especially from Youn Yuh-jung and young Alan Kim, and its organic storytelling rooted in autobiographical truth. [Read](https://theplaylist.net/minari-steven-yeun-review-sundance-20200127/)
- **The Wrap** (90/100, inferred): The critic calls Minari one of the best films of 2020 for its heartwarming, poetic portrayal of a Korean-American family's resilience and adaptation in rural Arkansas. The review singles out the charming intergenerational dynamic between young Alan Kim and Youn Yuh-jung as grandmother and grandson. [Read](https://www.thewrap.com/minari-film-review-steven-yeun/)
- **Consequence** (85/100, inferred): Chung draws authentically from his own childhood to depict the American dream's aspirations and harsh realities through a Korean immigrant family's experiences in 1980s Arkansas. The film stands out for its specific yet broadly relatable character study, strong performances (especially Youn Yuh-jung), and emotional staying power. [Read](https://consequence.net/2021/02/film-review-minari/)
- **Eye for Film**, Amber Wilkinson (80/100, inferred): The critic praises the pure, unsentimental bond between the young boy and his grandmother, and the film's warm autobiographical take on the American dream and family dynamics, while noting some late incidents feel piled up. [Read](http://www.eyeforfilm.co.uk/review/minari-2020-film-review-by-amber-wilkinson)
- **NME**, Rhian Daly (4/5): The critic praises the film's quiet, restrained examination of the American immigrant experience and family sacrifices. They highlight the subtle optimism symbolized by the minari plant amid the family's struggles. [Read](https://www.nme.com/reviews/minari-film-review-steven-yeun-2912717)
- **The Ringer**, Jane Hu (80/100, inferred): Minari is a strong, understated, and realistic film that captures the everyday details of its characters and the immigrant experience without melodrama or overstatement. It excels through naturalistic performances and a focus on specificity that still resonates widely. [Read](https://www.theringer.com/2021/02/17/movies/minari-review-asian-american-representation)

## Details

- **Director:** Lee Isaac Chung
- **Director:** Lee Isaac Chung
- **Writer:** Lee Isaac Chung
- **Cinematography:** Lachlan Milne
- **Editor:** Harry Yoon
- **Music:** Emile Mosseri
- **Production design:** Lee Yong-ok
- **Costume design:** Susanna Song
- **Producer:** Christina Oh, Dede Gardner, Jeremy Kleiner
- **Cast:** Steven Yeun as Jacob; Han Ye-ri as Monica; Youn Yuh-jung as Soonja; Will Patton as Paul; Alan Kim as David; Noel Kate Cho as Anne; Darryl Cox as Mr. Harlan; Esther Moon as Mrs. Oh
- **Runtime:** 1h 55m
- **Certificate (MPA):** PG-13
- **Release (the US):** 12 February 2021
- **Genres:** Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2021)
- **Budget:** $2 million
- **Box office:** $13 million
- **Trailer:** https://www.youtube.com/watch?v=KQ0gFidlro8

## Where to watch in the US

- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, sd
- Amazon Prime Video: buy $12.99, sd
- Apple TV: buy $12.99, sd

*Checked 2026-09-20.*

Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, HK, ID, IE, IN, IT, JP, KR, MX, MY, NL, NO, NZ, PA, SE, SG, TH, US, VN. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2021: Best Picture (nominated)
- Medal from the Circle of Cinematographic Writers for the best foreign film 2021: Medal from the Circle of Cinematographic Writers for the best foreign film (nominated)
- Sundance Audience Award: U.S. Dramatic 2020: Sundance Audience Award: U.S. Dramatic (won)
- Sundance Film Festival U.S. Dramatic Grand Jury Prize Award 2020: Sundance Film Festival U.S. Dramatic Grand Jury Prize Award (won)

## If you liked this

- *The Farewell* (2019), Fi1m 84: Another grandmother worth the trip, and another family lying to each other out of love. — [Fi1m page](https://film.one/film/the-farewell.md)
- *Days of Heaven* (1978), Fi1m 85: Wheat, light and people too small for the landscape; the template Chung is working from. — [Fi1m page](https://film.one/film/days-of-heaven.md)
- *Still Walking* (2008): Kore-eda’s family lunch, where every kindness has a grudge folded inside it.
- *Places in the Heart* (1984), Fi1m 80: A widow, a cotton crop and a loan due; Sally Field farming against the odds. — [Fi1m page](https://film.one/film/places-in-the-heart.md)
- *Pather Panchali* (1955), Fi1m 93: A poor family, a child’s eyes and a difficult old relative, seen with the same patience. — [Fi1m page](https://film.one/film/pather-panchali.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/minari