Sasquatch Sunset

In 1967, two cowboys shot some footage near Willow Creek in Northern California, now known as the PATTERSON–GIMLIN FILM, that seems to show a Sasquatch. The 352nd frame of the film has since become the most representative image of this creature in popular culture. While the film’s veracity has been frequently been called into question, one thing is for sure: it is a she, not a he, visible in the frame; her name is Patty. In 2010, the Zellner brothers released a short film called SASQUATCH BIRTH JOURNAL 2, which shows a bigfoot giving birth by a crystalline river. SASQUATCH SUNSET seems to represent the missing link between these two films, imagining life for a female bigfoot in the wilderness of the Pacific Northwest. Together with her companions, three male Sasquatches to whom she is related in various ways, we see the rituals the quartet conduct in the forest, her everyday existence and the changes that pregnancy induces in her body. As we trace the transformation of landscape across the seasons we witness the group’s actions and reactions (not human, yet not fully other) in this surreal comedy that manages to be fully expressive even without spoken dialogue. (Lucía Salas)

David Zellner: PLASTIC UTOPIA (1997), FRONTIER (2001), GOLIATH (2008), KID-THING (2012), KUMIKO, THE TREASURE HUNTER (2014), DAMSEL (2018, KO-REGIE) 

Nathan Zellner: LOTSAM/JETSAM (2005, K), BLACK SOMETHING (2016, K), DAMSEL (2018, KO-REGIE)