Kumiko, The Treasure Hunter

I wonder what the Coen brothers think to this film - besides the fact they apparently didn't credit the use of the scenes from Fargo. Not that anyone would mistake it for anything else. Kumiko, the Treasure Hunter has one of the most absurd setups for such an otherwise archetypal story. If there wasn't such a well known case of it actually happening, it would be difficult to swallow. It's simultaneously an American Dream and a culture rejection story that would make Ozu proud. In her pursuit for unimaginable riches, Kumiko neglects all aspects and expectations of her life, burning bridges every step of the way. It's a harsh examination of modern standards for young Asian women subverted with a 'gold rush' trope.

Kumiko is of course the least likely suspect for this journey, but that makes it more engaging than anyone else. While it feels like she gets out of situations by literally escaping without much of a scratch too often, its frequency paints a portrait of how far she's getting to each point of no return. In true Coen fashion, its fleeting supporting cast are memorably eccentric and provide much of the humour while lead Rinko Kikuchi provides the gravitas of the drama, taking the bizarre quest sincerely in every step. The photography is exquisite, contrasting the two worlds but putting America in the same tone and pace as Japan. Kumiko is a great tribute to the Coen's study of the corruption of money, building on it in the most out of the box way.

8/10

What a fascinating film to behold, truly. I had no idea it was based on any urban legend. One could swear, based on much of the film's tone and atmosphere, that it was a horror film in disguise. In its own way, it is a horror film, but it's not bound by any genre and instead it manages to be both supremely disturbing, it gets under your skin, but also really beautiful and engrossing on an emotional level. People seeking it out because "treasure hunter" sounds like it would make for something really fun should probably look away. The film will no doubt polarize many, with its most ardent fans defending it until their last breath while others will criticize it for being pointless or boring, or both. Regardless, it's a majestic film and unlike anything I've probably ever seen, and there couldn't have been anyone better cast than Kikuchi.

Kumiko, a Japanese employee, has only one hobby : treasures. She doesn't have any friends, and is really bored by her job. After seeing a VHS of "Fargo", she decides to travel to North Dakota to find the money hidden by Carl Showalter in the movie.

This movie is an excellent piece of work. Rinko Kikuchi appears under a new face with this introvert and amazing character, inspired by a true story.

David Zellner really did a good job of balancing comedy and drama : never exaggeratively funny, nor never desperately sad, the directing is very subtle and finds its own way to create an atmosphere around the point of view of an unusual character that sees the work differently than most of people do.

Which is, sometimes, really refreshing.

An introverted, heavily antisocial woman in Japan sees Fargo, the Coen Brothers film about a couple of gangsters failing at a job, and in the process hiding and losing a briefcase full of money. Fair enough, but the fun and the story start when she becomes fixated on the fact that surely this must be a true story and there's a real treasure somewhere on the side of a North Dakota road just waiting for her.

Kumiko is a bizarre story, as you have probably already surmised. Rinko Kikuchi, most known for Pacific Rim, plays the lead here, and she absolutely sells the character. She is the epitome of a square peck in a round hole and it's at times painful to see her trying to surmount the obstacles of everyday life that we take for granted. And a lot of the mystery of the film comes from wondering how she ended up like this and just how deep her condition goes. There's a very good scene near the beginning where she meets an old friend, who greets her like any other high school friend you have not seen for years, and you realize that surely Kumiko was not always like this. Something happened.

But the real treats start rolling when Kumiko decides to follow her only true passion and buys a plane ticket to America. The rest cannot be really talked about without spoiling the story, but trust me that it's just as surreal as Fargo at its best and, more often than not, even more so.

Plus, the ending, which is just about perfect. The only way this kind of story could really end.

Kumiko, the Treasure Hunter is an experience. Its reach is perhaps greater than its grasp, but it's still a movie I'd definitely recommend for its sheer ambition and uniqueness.

Viewers are asked to identify with the Coen Brothers' fictional "Fargo" and the reality of the Zeller Brothers' "Kumiko" (Rinko Kikuchi of Babel). Our leading lady on a treasure hunt for something we all crave – what we want.

Kumiko is insulated from the rest of the world through solitude, Her character cannot subscribe to Japanese societal norms and the journey is like many: weathering professional and personal criticism for not measuring up to the public barometer. She is hungry for the smallest dollop of approval. Frosty comrade pressures and a personal friend with child make the tiny Single made to believe she does not measure up. Even Mother is disappointed that she is still not married, a Japanese custom that girls are to wed by 25 or live at home.

Yet, our actress ventures out alone to find little gems wherever she goes, small hidden treasures that strengthen thoughts of another journey. She identifies best with her bunny Bunzo (Rabbit - symbol of rebirth and innocence). Emotionally drained, Kumiko cannot stay in a world that punishes her for not attaining expected behaviours. Mistaking make believe for real life, our disillusioned lead leaves native Japan penniless and fixated, but armed. She encounters Americans who unknowingly assist in her adventure. Blanketed in determination, our heroine explores self-abandonment, only to be rescued from the cold with local hospitality.

All this happens against a constant, white background of the silver screen, the Japanese symbol of death. This film leads viewers to decipher what is "not" real and what is. This film is a myth of fortune and the pursuit ... of what we each want. After watching, we may all realise we have been living a dream, maybe other's dreams … and not our own. Her future may be someone else's chaos.