Posted in: by Sean Axmaker, Contributors, Interviews

Treasure Hunting with the Zellners

‘Kumiko, the Treasure Hunter’

David and Nathan Zellner started making films together when they were kids, acting in their own home movies shot on camcorder. “I think that’s what first got is interested in making films is wanting to perform,” says David, director and co-star of their new feature Kumiko, the Treasure Hunter. It premiered at the 2014 Sundance Film Festival (where it won a Special Jury Prize for the score by The Octopus Project), was picked up for distribution by Amplify and has made stops at Fantasia and Nextfest this summer. It’s not their first feature—they’ve made four previous feature-length productions if you count a film they made right out college (it’s not available and they don’t even include it on IMDb), and that doesn’t take into account the many short films they’ve made in between—but it is poised to be their break-out film. Based on an urban legend of a Japanese woman who traveled to Minnesota to find the money buried in the snow at the end of Fargo (believing it to be “a true story” as the opening of the film insists), Kumiko, the Treasure Hunter is funny, wry, sweet, and engagingly offbeat, a lovely little character piece that embraces the eccentricities of its characters without ridiculing them.

I met up with David Zellner this past spring at the Seattle International Film Festival a few weeks before they had landed distribution (he hinted that something was in the works but could not discuss until everything was final. After he introduced a screening of Kumiko, the Treasure Hunter to a packed house at the Egyptian theater (and stuck around long enough to confirm that sound and image were to his satisfaction), we headed off to a nearby coffee shop and he sat down for a generous interview until he was due back for the Q&A.

In the middle of the interview, David was momentarily distracted by a man in the alley outside the coffee-shop window doing Tai Chi-like movements with an unconventional prop. “There’s a man doing Ninja moves with a fishing pole,” he remarked. “That was great! I wish I could have filmed it.” That enthusiasm explains their prolific output and their dedication to making short films between the features. Inspiration is everywhere. You just have to keep your eyes and your mind open.

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Posted in: by Sean Axmaker, Contributors, Film Festivals, Film Reviews

SIFF 2011 Dispatch 8: “Life in a Day” and “Norwegian Wood,” final screenings and return engagements

Screenings will continue late into the evening of Sunday, June 12, the 25th and final day of the 2011 edition of the Seattle International Film Festival (see below for the films scheduled in the numerous TBA slots of the program). But the festival marks the conclusion with its closing night gala film – the lovely Life in a Day (USA), which is being screened at the magnificent Cinerama (still the finest theater in town and sadly absent from the rest of SIFF this year) – and the traditional closing night party. I hope to rouse myself for the latter.

As for the Closing Night film itself, Life in a Day is a feel-good film (with some moments of sadness and emotional trials) about the global village that doesn’t sell out its integrity to go for the emotional tug. A mix of high concept ambition, low-fidelity tools and the networking possibilities of the web’s global community, the production is a collaboration between National Geographic and YouTube, which is also as accurate a description you can offer for its sensibility. Officially directed by Kevin Macdonald, who plays ringmaster to a circus of contributors, it is in fact shot and performed by you, or us, or the folks out there, using everything from high-end video equipment to flip cameras to smart phones. What unifies the footage is that it was all shot on July 24, 2010, and each piece used in the film relates to the way we live our lives.

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