Having moved from the teeming cityscape of Taipei to the rural American South in the 1970s as a preteen, I know something of the shock, at once awe-inspiring and estranging, of that first sight of the great American landscape—just sheer land—that seems to stretch on forever. Watching Minari, the new semi-autobiographical film from Lee Isaac Chung about a Korean-American family newly arrived in the heartlands of 1980s Arkansas, I remember again that uncanny sense of feeling at once free and lost.