With the release of Academy Award nominations and Golden Globe awards, such pomp may seem out of place this year. But the film awards circuit has brought to the spotlight two rural films that have achieved many firsts in the film industry and are bringing to households the rural United States as never before seen: Minari and Nomadland.
Minari is set in the Arkansas Ozarks during the 1980s and follows a Korean-American family as they pursue the American dream in a rural community. Director Lee Isaac Chung borrowed from his own childhood growing up on a farm in Lincoln, Arkansas. Filmed in Oklahoma during a hot summer, Chung directed much of the filming inside a double wide trailer, a home based on the one he dreamed of living in during his youth. Oklahoma hopes that the film’s success will bolster the state’s film industry, creating more jobs in the rural state.
Having won numerous Sundance Film Festival awards and six Oscar nominations, Minari’s receipt of the Golden Globe award for best foreign language film, rather than best drama, caused backlash. Although more than fifty-percent of the film’s dialogue is in Korean, Minari tells a quintessential American story of immigration, obstacles, and success. In creating his film, Chung expressed, “My friends back in Arkansas are the audience I wanted to connect with.”
Steven Yeun and Youn Yuh-jung, both lead actors in the film, along with producer Christina Oh made history in the awards circuits: Yeun is the first Asian-American to be nominated for best actor in a leading role, Youn is the first Korean actress to receive the Screen Actors Guild award for best female actor, and Oh is the first Asian-American to be nominated for best picture. It is troubling that such firsts are being made in 2021, and backlash over the lack of diversity in film awards ceremonies is well documented and deserved: “Since 1929, only 6.2 percent of minority actors and directors have gotten [nomination] nods.”
Nomadland, Minari’s fellow critical darling, is a film by director ChloĆ© Zhao that follows a woman who leaves her remote, diminishing Nevada town to live out of her van as she traverses the American West. The movie highlights some stark realities of rurality in the United States, with remote towns across the country dwindling as residents leave and businesses close, discussed on Legal Ruralism here and here.
Filmed throughout South Dakota, Nomadland captures small-towns and rural expanses in the state, including Wall, where the infamous Wall Drug is located, and Scenic, whose current ownership is discussed in a blog post here. The state’s tourism sector is hopeful the success of the film will bring increased tourism to the filming locations:
Movies have a tendency to inspire people and to really motivate them to travel to different places and… with the theme of the movie being outdoors and wide open spaces, I think it will really entice people to want to come out and to experience the Black Hills and Badlands area.
As a Chinese national who grew up in Beijing, Zhao found joy in the rural geography featured in Nomadland:
As I fell in love with the American West, it was impossible not to become fascinated with the roads that lead to the many adventures beyond the horizon.
These recent rural films add nuanced narratives of what it means to be rural in America. As Minari’s producer shared with the Daily Yonder,
We wanted to make sure that everyone was, even in these rural areas, portrayed as people. Because we all are human beings after all. And we all come from different backgrounds and there’s no right way to human.

