#han yeri

[shinypenguincoffee]

#Yeri #Han Yeri

#yeri #han yeri

[jasminejarss]

Minari (2020) dir. Lee Isaac Chung

#minari #lee isaac chung #steven yeun #han yeri #youn yuh jung #alan kim #noel kate cho #film #film stills #tvandfilm #cinema #cinematography #filmedit #stills #movie #movies #screen cap #userfilm #screen #films #dailyfilmtvgifs #cinemapix #cinematv #filmtvdaily #movie stills

[yeo-rims]

I used to have a different name.

#six flying dragons #han ye ri #kdramaedit #userdramas #the roots of throne #han yeri #g* #ladies of

[neviayue]

난 볼 거야 평생, 친구 (refined) | By Nevi Ayu E.

My Unfamiliar Family's bestest friends, Chanpal and Eunhee running machine edition, lol. I wanted to make this one I made a few years back to loop better, but now they look like they're on a running machine! Anyways, I'm still going to put one of my favourite dialogue of these two here too. So if you haven't watched this show, you know what? I loved it a lot lot!

“I, I hate myself so much.”

“What can you do about it? You can’t change it. Just try living with it. You have my support.”

Dialogue from k-drama My Unfamiliar Family (2020) episode 10, written by Kim Eunjung.

Oooh and this cute one from episode 11 and also Chanhyuk's response.

너한테 고백 할게 있어. 너랑 그저 친구 라면서, 몰래 슬쩍슬쩍 훔쳐보고, 네가 멋지게 웃는 모습 찰캌 마음에 찍어두고, 잠들기 전에 꺼내보고 그랬다

I have a confession to make. I said we were friends, but I secretly stole glances at you, captured your nice smiles in my head and looked at them before going to bed.

나도 한번 해보려고. 친구라고 하면서 너 슬쩍슬쩍 훔쳐보고 웃는 얼굴 마음에 찍어뒀다가 잠들기 전에 꺼내보려고

#illustrations #illustration #animated gif #gif animation #kdrama scenes #kdrama quotes #couple walking #my unfamiliar family #kim jiseok #han yeri #가족입니다 #아는 건 별로 없지만 가족입니다 #김지석 #한예리

[candlewinds]

HAN YE-RI as CHEOK SA-GWANG Six Flying Dragons (2015)

#six flying dragons #kdramaedit #kdramaladies #han yeri #kdramadaily #han ye ri #cheok sa gwang #kdrama #shaking violently and screaming #HAAAAANNNNN YERRRRIIIIIIIIIIIII!!!!!!!! #🙇🏻‍♀️🙇🏻‍♀️🙇🏻‍♀️ #break my heart acting queen 💔 #*edits

[hanyeri]

Seungyeon x Han Yeri: WHEN I MOVE challenge 💗

#seungyeon #han seungyeon #kara #han yeri #kactoredit #mine #this is truly the best christmas gift #aoy reunion in 2022 likeee god is smiling on us

[lafilledysl]

Minari (2020) directed by Lee Isaac Chung

#minari #film stills #cinephile #cinemetography #steven yeun #k movies #k films #kdrama girls #han yeri #alan kim #youn yuh jung #noel kate cho

[cinemaronin]

One Step More to the Sea (2009)

바다 쪽으로, 한 뼘 더 One Step More to the Sea (2009) directed by Choi Ji-yeong

#han yeri #바다 쪽으로 한 뼘 더 #one step more to the sea #korean film #korean cinema #indie film #asian film #stills #park ji-young

[quarter-lif3crisis]

Minari 미나리 (2020)

#moodboard #kmovie #minari #k films #han yeri #steven yeun #noel cho #will patton #alan kim #youn yuh jung #lee isaac chung

[fyeahkoreanphotoshoots]

Han Ye Ri - Harper's Bazaar Magazine September Issue '22

#Han Ye Ri #Han Yeri #Han Ye Ri* #Harpers Bazaar #Harpers Bazaar Magazine #Harpers Bazaar Magazine September Issue 22

[rreellaaxx-time]

한예리

#한예리 #han yeri

[ruleof3bobby]

MINARI (2020) Grade: B

They developed each character so equally beautiful, I think one could argue each is the films POV. Loved the composition and acting. The grandma is one of the best written characters I've seen in awhile.

#Minari #2020 #B #Drama Films #Family Drama #American Dream #Lee Isaac Chung #Korean #House Fire #Arkansas #Farm #Steven Yeun #Han Yeri #Noel Cho #Alan Kim #Darryl Cox #Esther Moon #Ben Hall #Eric Starkey #Youn Yuh-jung #Jacob M Wade #James Carroll #Jenny Phagan #Tina Parker #Joel Telford #Scott Haze #A24 #Immigrant #Husband Wife #Watch This

[gyuyoungarchives]

💬 Star News [13082020]: Park Gyuyoung Press Interview Highlights for It's Okay to Not Be Okay

- "Real Life Relationships? I've Both Dumped, and Been Dumped"

- "Admiring Han Yeri as a Role Model"

"It's Okay to Not Be Okay" is a fantasy-like romantic comedy that tells the story of Moon Gang-tae (played by Kim Soohyun), a psychiatric ward caregiver who refuses love due to the burdens of life, and Ko Moon-young (played by Seo Yeaji), a fairy tale writer who, due to a congenital defect, does not understand love, as they comfort and heal each other's wounds.

In the drama, Park Gyuyoung took on the role of Nam Juri, a psychiatric nurse. Nam Juri, a competent nurse at a psychiatric hospital, harboured unrequited love for Moon Gang-tae, who comes from the same hometown. Upon realizing the love between Moon Gangtae and Ko Moonyoung, Nam Juri steps back, causing heartache yet worrying about Ko Moonyoung's pain as a friend. She captivated viewers with her charm, revealing a new persona when drunk despite being a professional nurse for seven years, and eventually found a happy ending with a new love interest, Lee Sangin (played by Kim Joohun).

Park Gyuyoung induced sympathy from the audience through her role of unrequited love towards Kim Soohyun. Having worked with Kim Soohyun for the first time, she expressed her gratitude, saying, "I grew up watching Kim Soohyun senior's works, so he felt like a great senior to me, but he helped me a lot on set."

...Regarding her impression of Kim Soohyun in real life, Park Gyuyoung shared, "In reality, senior's face is really small...in the scenes where he rejects her, he delivered a powerful performance with his eyes. While monitoring, I felt that senior has many moments of charm that come through his eyes."

Regarding the development of love between Nam Juri and Lee Sangin, Park Gyuyoung explained, "For Juri, Gangtae was a long-time unrequited love. She tried to do something for Gangtae but ended up just bamging her head on a brick wall, which probably made her feel lonely. At that time, I think she opened her heart to someone who offered her warmth instead."

Meeting Kim Joohun for the first time in "It's Okay to Not Be Okay," she said with a laugh, "Senior (Kim) Joohun is really warm in real life. He was a man with a warm heart," and expressed her gratitude, saying, "I could rely on him comfortably." With a 13-year age difference between Park Gyuyoung, who is 27, and Kim Joohun, who is 40, she addressed potential concerns about their chemistry, saying, "I tried to express Juri and Sangin's relationship well in the drama."

When asked about her experiences of being rejected in real love, Park Gyuyoung answered, "There were various situations and the environments were all different, but I have both rejected and been rejected." When asked about her ideal type, she said, "I like someone who genuinely loves me. My ideal type is someone who is reliable and affectionate."

Though originally from Busan, Park Gyuyoung boasts an impressive academic background. She graduated from Busan Foreign Language High School, majoring in Chinese, and then from Yonsei University, majoring in Clothing and Environmental Studies. Despite having lived in Busan until high school, she now speaks standard Korean without any regional accent in her daily life.

"My parents are from Seoul. That made it easier for me to adjust my accent. But when I'm with friends, the dialect comes out," she said with a laugh.

The turning point that led her to pursue acting, despite majoring in a completely different field, was when she was offered to model for the cover of the magazine "University Tomorrow" during her university years. "I found the photoshoot fun. After that, I received an offer to act from JYP Entertainment," she explained.

Currently affiliated with Saram Entertainment, a management company specializing in actors, Park Gyuyoung said she learns a lot from her seniors. "It's great to have many people to ask for advice. There are many respected teachers, and that has been a driving force for my acting," she said. "I like senior Han Yeri. She gives me good energy, so she's my role model."

When asked why Han Yeri is her role model, she replied, "I first saw senior Han Yeri in the drama 'Nokdu Flower,' and I really wanted to learn from the good energy that emanated from her acting." She continued, "I was grateful when senior Han Yeri watched 'Psycho But It’s Okay' and told me in the shop that she liked my acting. I also watched the drama 'My Unfamiliar Family' where the senior starred and we exchanged words about how good her work was," mentioning the affectionate relationship between the seniors and juniors.

Roughly translated. Abridged.

Star News (It's Okay to Not be Okay), 2020

#park gyu young #park gyuyoung #actress #kdrama #korean drama #its okay to not be okay #interview #han yeri

[heizelnutlatte]

💬 The Cut [26022021]: Han Yeri Interview on Minari

- Finding Our Mothers in Minari How Yeri Han captured the soul of the young immigrant wife and mother.

Minari opens with a shot of a young woman named Monica Yi, played by Yeri Han. It’s of her eyes, trained in a rearview mirror, and you see everything in them: the first seeds of skepticism, growing as she drives along a rural Arkansas road toward a home she’s never even seen in a country that’s still alien to her. The distaste for what she will later call “this hillbilly place,” so different from the city where she’s from. The anxiety, mostly for her children in the backseat, one of them with a heart condition that means he shouldn’t be this far from a hospital. The resentment — didn’t her husband think of that? The fear. The resolve. The love.

The shot is two seconds long, but maybe you’ll recognize it. I did — how familiar that look was, all it contained. How many times had I seen it on my own mother’s face? She would immigrate to America in the ’90s, some ten years after the events of Minari take place. Her American life would also begin in Arkansas, in a town called Fayetteville, where I would be born at the hands of a racist obstetrician.

Minari is Lee Isaac Chung’s semi-autobiographical film about a family of Korean immigrants who start a farm in 1980s Arkansas. It follows Jacob, played by Steven Yeun, who moves his two children and wife, Monica, into a mobile home on a bit of farmland to avoid a lifetime of chicken sexing. We watch Monica’s attitude toward him move from disbelief and exasperation into passive aggression. It’s a poor lid for her resentment, which still comes out in mean ways — slammed plates and tossed-off lines meant to sting. (“Would you live in a house like this when you’re married?”)

It all bubbles over early on, when Jacob casually accepts the news of an approaching tornado as his children cower under their mother’s arms. When this happens, you realize why Han was cast opposite Yeun, someone she goes toe-to-toe with easily and eclipses frequently. The tornado argument, which ends with Monica turning her back to Jacob and grabbing the tears out of her eyes with her fingers, is one of the moments you forget Yeun is supposed to be the star of the show. Han’s performance is even more striking when you learn that Chung wrote Monica’s character into the story only faintly; the beats were there, but Han drew the emotional arc herself, massaging Chung’s memories into the restrained, eloquent woman we see in Minari.

Like Monica, Yeri Han looks very young, but her age is completely indecipherable. This has something to do with the way she holds herself — even over a video call her bearing feels powerful, and her actual posture is so erect that she gives off an air of authority. As it turns out she’s 36, and has been a star in South Korea since her twenties when she began gathering awards for her work in a number of indie movies, films in which she played everything from a North Korean ping-pong player to a manipulative, cheating girlfriend. Minari — Han’s first film to premiere in the U.S. — came after her time on an episodic period drama and a sitcom. She is well-known for her range.

And yet, at first, Han struggled to figure Monica out. She shares very little with the character, and questioned why she stayed with Jacob, why she didn’t just take the kids and leave. It was only when she took a long, hard look at her own parents did she start answering some of those questions. Like Monica and Jacob, Han’s parents had her very young — “they formed a family before they could form a solid sense of self, or achieve their own dreams,” she says. With Monica’s naïveté established, Han let her use love as an excuse.

But it was her own mother, specifically, whom Han drew on, and it pays off in Minari’s most poignant scene, which takes place in a parking lot shortly after Jacob lands a partnership with a local Korean grocer. In early drafts of the script, Monica was to tell Jacob that she was leaving for good, but Han had Chung tweak the lines to be less damning.

“I thought Monica would never tell Jacob that she wants to actually leave him,” Han says, explaining that even at wit’s end her Monica was still full of love for Jacob, something we witness shortly after, when she runs after him into a burning building. “The memory was faint — it was just like a photograph in my mind — but I remember my own mother telling my dad something similar. The moment the words came out of my mouth, I thought about how my mother must have felt.”

It’s the only moment in the film Monica lets herself cry in front of her husband, and as Han describes it her perfect shoulders crumple slightly, and she herself begins to weep. She dabs her eyes and, recovering, goes on to describe how her mother was only one of many women she recalled for her performance. It was memories of her grandmother and six aunts, ultimately, that gave Monica everything you see in that rearview-mirror shot

“When I think of their lives, I remember them as people who were repressing things,” she says of the women she grew up around, recalling how they prioritized their children’s education and aspirations, sacrificing their own ambitions in the process. It was a kind of altruism characteristic of the first generation of mothers in postwar Korea, Han says, but it was an attitude she could build into the immigrant parent she was playing, too.

And when you watch Minari with an eye toward Monica, it becomes a different film, one that knows the predicament of the immigrant mother and wife and is honest about it. Monica’s Minari is still grounded in love, but there’s a bitterness and a tension, borne of broken promises and misplaced expectations.

And that, I think, is where I saw my mother, where I didn’t expect to see her and where, at first, I didn’t want to. It’s one of those things where you avoid looking too hard because something tells you it will be too close.

If you’re a first-generation American, you may have felt this too, because Han gives us our mothers — their self-denial, their sacrifices, and their repression — and this makes Minari a more difficult film to watch. You leave it feeling more uneasy than if you saw the “gentle” and “intimate” immigrant story it has been described as because you have to ask yourself what becomes of Monica. Does she leave Arkansas and move to the city? Or does she stay, sexing chickens her entire life so her son can make movies? Is she ever happy?

Minari doesn’t answer those questions, and I don’t think it has to, largely thanks to Han. She knew our mothers’ sacrifices, but she also knew their strength. As she says to me later in the interview, “when I look back on the mothers I grew up around, I see them as very resilient and powerful people,” and so she gave Monica resilience and she gave her power. The distinction is everything; Monica’s Minari doesn’t just know about our mothers, it honors them.

Link: https://www.thecut.com/2021/02/how-yeri-han-captured-our-mothers-in-minari.html

|| as Monica in Minari, 2020

#han yeri #minari #interview

[cinematapestry]

Minari (2020) dir. Lee Isaac Chung

#minari #film stills #stills #steven yeun #yeri han #alan kim

[hanyeri]

HAN YERI x ICON° MAGAZINE :: behind cuts

#kactoredit #flawlessbeautyqueens #han yeri #한예리 #mine #aur my god look at her she's insaneeeeee