Goliath, a quasi-mumblecore tragi-comedy by the Zellner Brothers of Austin, TX plays this weekend at the Independent Film Festival of Boston. The indie feature, about a man who loses both his wife and his beloved cat in the same harrowing year, was first reviewed here at The Screengrab by Scott Von Doviak during the 2008 South-by-Southwest Film Festival.
David Zellner and his brother, Nathan, have been crafting distinctive independent cinema since 1996, but I first became aware of them at a terrible film festival called 30th Parallel that leeched onto the back of the 1997 SXSW fest, analogous to the Slamdance/Sundance arrangement, but much shoddier (and short-lived, since 30th Parallel barely made it through its first and only installment).
I know about the 30th Parallel Fest, because it featured the Texas premiere of my own indie film, Apocalypse Bop. The whole misbegotten affair kicked off with a back room hotel reception marked by a sad tray of vegetables and the absence of any members of the 30th Parallel staff to greet us. This led to some awkward bonding among the invited filmmakers as we all stood around, confused, waiting for some information about what we were supposed to do. Then, eventually, we all left.
Because just about every movie theater, auditorium and/or other screening venue in Austin was booked for SXSW, 30th Parallel mostly screened its selections in the back rooms of bars, which wasn’t a terrible idea in theory. Unfortunately, the Zellner Brothers had the misfortune of premiering their surrealist mime masterpiece Plastic Utopia on “Melrose Monday” at some 6th Street dive, meaning that many of the 30th Parallel films screened that evening were drowned out by blaring Melrose Place-themed trivia questions from the front of the bar.
Additionally, the 30th Parallel projectors were seeming World War II-era relics that kept jamming and breaking down every few minutes...and, even when they worked, they often caused the projected films to stutter, blur and, occasionally, melt.
And yet, it is to the Zellner Brothers’ credit that, despite all the hellacious distractions, I not only sat through the entire, tortured screening of Plastic Utopia, but came away considering it one of the most brilliantly deranged independent films I’ve ever seen, a surrealistic cult classic that, sadly, has never inspired nearly the cult it deserves.
Yet, while not cult figures on the level of, say, John Waters, Kevin Smith or Jim Jones, the Zellners have slowly built a small, devoted following, in Austin and elsewhere, despite their tiny budgets and occasional peculiar experiments like 2001’s Frontier, a faux foreign film in a fake foreign language (Bulbovian) starring an older, puffier Wiley Wiggins (of Dazed and Confused fame).
Recently, the Zellners have devoted themselves to dry, absurdist short subjects which highlight the pair’s strengths: unexpected, offbeat writing and visuals combined with their own very likeable recurring screen personas: David, the excitable, put-upon cynic and Nathan, the mellower zen weirdo.
The shorts (available for viewing at ZellnerBros.com) opened the door to the influential Sundance Film Festival, which recently premiered their latest feature film, Goliath, once again starring David and Nathan, with cameos by Wiggins and mumblecore poster boy Andrew Bujalski.
The film, in terms of tone and subject matter, plays like the bastard child of Little Children and Year of the Dog. Goliath, the titular tiger-striped tabby owned by David Zellner’s protagonist, goes missing and his recently divorced owner goes more than a little insane, eventually scapegoating a neighborhood sex offender (played by Nathan) as the source of his troubles.
The film plays out in a deadpan naturalistic style that left me yearning for a little more of Plastic Utopia’s antic narrative drive and visual invention, yet nevertheless hooked me with its own peculiar rhythms, dry wit, occasional slapstick, Asian porno drumming (yeah, you heard me) and its sometimes harrowing depiction of the hazards of love and pet ownership...without giving too much away, I’ll just note here that if you’re a tender-hearted pet lover, this may not be the movie for you.
