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Going for gold: All of the Best Picture Oscar-nominated films reviewed

THE FATHER Olivia Colman as Anne and Sir Anthony Hopkins as Anthony in The Father (Lionsgate Films/Sean Gleason) The mind plays tricks on us and the discombobulated title character in Florian Zeller’s classy adaptation of his award-winning stage play, co-written for the screen by Christopher Hampton. Set in the handsomely furnished London apartment of an octogenarian patriarch (Sir Anthony Hopkins), The Father slowly picks at the seams of his supposed reality and questions the reliability of his muddied memory as Olivia Colman and Olivia Williams both claim to be his concerned daughter. Ingenious production design ramps up the unease as Sir Anthony delivers an acting masterclass and poses the most serious threat – as the Baftas confirmed – to Chadwick Boseman’s posthumous coronation.

Oscars 2021 Best Picture spotlight: Minari

Photo by Josh Ethan Johnson, Courtesy of A24 Minari, one of this year s Best Picture Oscar nominees, is inspired by the life of writer and director Lee Isaac Chung. It follows Jacob and Monica Yi, immigrants from South Korea who move from California to Arkansas with their children to grow Korean produce. Monica s mother joins them from South Korea, and after a bumpy start, she forms a bond with her grandson, David. The film details the personal and financial hardships the family endures as they chase the American Dream. Former Walking Dead actor Steve Yeun, who plays Jacob in the film, made history when he became the first Asian American to receive a Best Actor Oscar nomination.

Oscars 2021 Best Picture spotlight: Minari

Oscars 2021 Best Picture spotlight: Minari
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Minari Haunted Me by What It Left Out - The New York Times

Minari Haunted Me by What It Left Out - The New York Times
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Minari review – an enchanting drama of faith and farming

Sun 4 Apr 2021 03.00 EDT The title of writer-director Lee Isaac Chung’s enchanting film about a Korean family making a new start in rural 80s Arkansas refers to the tenacious edible plant that we see taking root and flourishing by a shady creek. “It’s a poetic plant,” Chung has said, not least because it “will grow very strongly in its second season, after it’s died and come back”. That theme of death and rebirth runs throughout Chung’s drama, inspired by his own family history (the minari used onscreen actually came from his father’s crop in Kansas City) and boosted by terrific performances, glowing visuals and a wonderful musical score.

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