Edwin Arnaudin: This past Tuesday, I received a shock when Facebook’s “memories” feature informed me that it was the one-year anniversary of Bong Joon-ho’s Parasite becoming the first foreign-language film to win the Academy Award for Best Picture. I’d completely forgotten that the Oscars occurred so early in 2020, but the reminder was a welcome one and got me thinking about the 2021 ceremony awaiting us in April.

Whether intentional or coincidental, this week also sees the release of Minari, another critically lauded tale of a Korean family’s struggles to improve their lives. Instead of a contemporary Seoul-set story involving the manipulation of a wealthy household, Lee Isaac Chung’s takes place in 1980s Arkansas and finds the Yi clan attempting to start a farm. Will it likewise take home the Academy’s top prize — and does it deserve to?

Bruce Steele: Minari has certainly proved itself to be critics bait, and I understand why. It's a unique subject — Korean immigrants in rural America — and the performances are unpretentious and sometimes heartbreaking. I both enjoyed and respected the film for most of its running time. But unlike Parasite, which has a devastating third act that's beautifully set up, Minari merely self-destructs for no particular reason then peters out. No spoilers here, but it was as if writer/director Chung knew what he wanted as his climax but had no idea how to get there or what to do afterward. It left me frustrated and sorely disappointed.

Edwin: Sounds like we had similar experiences. The ending feels unearned and somewhat random, and diminishes the otherwise frequently moving narrative. The film is at its strongest when focusing on Jacob (Steven Yeun, Okja), Monica (Yeri Han), and their children Anne (Noel Cho) and David (Alan Kim), whose domestic and professional struggles are plenty compelling, particularly the parents’ desire to escape their day jobs sexing chickens. Though the additions of kindhearted religious zealot farmer Paul (Will Patton) and Monica’s mother Soonja (Yuh-jung Youn) certainly spice things up, I found these wild cards largely incongruous with the core family dynamic, often to a distracting degree. Did these eccentric characters work for you?

Bruce: Absolutely. There's lots to love here. What other movie has ever depicted the monotonous and yet necessary job of sorting baby chicks by sex? And the relationship between David and his grandmother is precious. Patton, a long underused screen talent, is a great addition as Paul. I'd be happy to see both Patton and Youn get Oscar nominations. Chung's ability to build character is remarkable, and I think that's what's been getting the movie its awards buzz. I also thought the movie looked great.

Edwin: Chung’s filmmaking isn’t flashy, but he clearly puts significant thought into shot compositions and lighting. Despite having made three narrative features, a documentary, and multiple short films, I’d never heard of him prior to Minari’s celebrated Sundance 2020 premiere. His latest work, which I’ll give a solid B, establishes him as a talent to watch, but I don’t think it merits the kind of acclaim it’s received — including from our own N.C. Film Critics Association, which awarded it top honors for Narrative Film, Original Screenplay, and Supporting Actress, as well as the Ken Hanke Memorial Prize for Patton’s connection to the N.C. School of the Arts.

Bruce: Well, 2020 was a slim year for quality filmmaking, and Minari represents an original vision that stands out from the crowd, a quality it shares with the equally lauded Nomadland. I would still encourage people to see it — especially since we're in the minority on its final crack-up. Viewers may or may not agree, but they'll find an enveloping and unusual story and several memorable performances. Still, the best grade I can give it is a C-plus. Endings matter.

Grade: B-minus. Rated PG-13. Available to rent via fineartstheatre.com

(Photo by Josh Ethan Johnson, courtesy of A24)