The wonderfully weird but not entirely successful Kumiko, the Treasure Hunter begins with the title character, played by Rinko Kikuchi, finding an abandoned VHS copy of the Coen Brothers’ classic Fargo buried in the sand on a beach. Curious, she takes the tape back to her apartment and studies the film with quiet intensity, taking scrupulous notes and even taking sketch paper to the screen to complete a drawing. Kumiko takes the “true story” disclaimer at the beginning of the film seriously and treats it like a documentary, although the entirety of Fargo is completely fictional and the note was intended as a small bit of stylistic satire from the Coens.
This is lost on the troubled and lonesome Kumiko, who increasingly grows weary of her meaningless desk job and the impending pangs of adulthood. When she sees Steve Buscemi’s character bury a satchel of money in the middle of a snowy Fargo field, she almost can’t believe her good fortune. After relinquishing her adorable bunny companion Bunzo, Kumiko journeys from Tokyo to Minnesota with only a stolen company credit card and a hand stitched map that she believes will lead her to the unclaimed treasure.
To make matters more confusing, Kumiko is itself based partially on the real events surrounding Takako Konishi, whose story is told in depth in the film This Is a True Story. What director David Zellner and his brother Nathan have done is taken the elements of truth and fiction from all of these idiosyncratic narrative strands and created a sort of off-kilter urban legend of their own. Fittingly, they create an unusual tone throughout the story, with a mix of introspective character studyand fish-out-of-water comedy that’s sure to throw audiences off.
Despite this, the film’s most obvious flaw is that the Zellners really have no idea how we should perceive Kumiko. She’s our heroine and we want to see her succeed but ultimately, we know that she’s running a fool’s errand. How hard can we root for someone who travels across the world expecting a stolen credit card to provide ample funding for her trip? Even the gracious strangers that she meets on the way who try to aid her in her quest are eventually jettisoned by Kumiko. By the end, my sympathy and patience was running thin for her, which is a problem for a movie that focuses so solely on its main character.
Don’t get me wrong: I would much rather the Zellners go this route instead of trying to make Kumiko a “quirky” and “lovable” stereotype who is set up to be the butt of the movie’s jokes. Despite the main character’s struggles, Kumiko is never a mean-spirited work but instead, it is a much more thoughtful film with a peculiar edge and a memorably bizarre setup. Unfortunately, the journey ultimately does not pay off.