In Jeremy Lu's 'Monkey Drum,' a boy and his father knock at the door of a stranger in a

      Jeremy Lu's "Monkey Drum" opens with a straightforward scenario: A father and son, lost in a Japanese forest, seek refuge at the home of an elderly man who lives in secure yet modest isolation. He provides them with food and shelter.

      The film, which is set to premiere this weekend at Flickers’ Rhode Island Film Festival, unfolds with a clear narrative. It prompts you to question whether living in such isolation, surrounded by lush serenity, would bring genuine satisfaction. Can the three generations of men in the story offer each other a similar sense of tranquility?

      However, as the story develops, complications arise, revealing underlying issues that may have existed from the very beginning.

      Lu, originally from the San Francisco Bay Area and a recent New York University film program graduate, adopts a formal, analog style for his film, mirroring its setting. In a nod to the DIY culture of the ’80s and ’90s, he created a zine documenting the film's production, which he distributes at festivals. We spoke with him ahead of his Sunday premiere, where attendees can access the zine online via QR code.

      “Monkey Drum” writer-director Jeremy Lu. Courtesy of the filmmaker.

      MovieMaker: I’m impressed that someone so young, at 22, created such a formal and detached film. I've read about your admiration for Kurosawa, and it certainly shows. You also produced a zine to document the filmmaking process, reminiscent of the late ’80s and early ’90s. As a print magazine editor, I especially appreciate it. Who are you, and how did you arrive at this aesthetic?

      Jeremy Lu: Thank you for the kind words. I’m a big fan of films that possess a handmade, sensory quality, and I aimed to bring those sensibilities into the horror genre with this film. Film is a medium that allows creators numerous ways to engage their audience’s senses. As a filmmaker, I strive to discover a cinematic language that transcends the limitations of a purely audio/visual experience.

      The zine wasn’t initially intended for public release; I created it as a “physical artifact” for audiences to take home after watching the film. It’s as if a small piece of the film is accompanying the viewers.

      A scene from “Monkey Drum,” by Jeremy Lu. Courtesy of the filmmaker.

      MovieMaker: You've mentioned being tri-cultural—what are the three cultures, and how do they influence you?

      Jeremy Lu: I’m Filipino, Chinese, Japanese, and American, so my upbringing has always been an intersection of these cultures. Many mixed-race individuals, especially in the arts, often grapple with the challenge of deciding which part of themselves to express in their work. I’ve always found the pressure to “choose” a side peculiar, which is why “Monkey Drum” underwent several drafts influenced by various cultures before I settled on the Japanese countryside as its setting.

      The film’s narrative is underpinned by societal expectations and the anxiety of appearing “improper” to those who care for us. These themes made it difficult for me to envision the story occurring anywhere other than Japan.

      MovieMaker: We connected on Instagram, so you’re not a Luddite. But both the film and the zine are very analog. What draws you to that style? Do you think your generation is pushing back against the overwhelming online stress, or is that just an assumption older folks like me have?

      Jeremy Lu: I don’t think that’s too far from reality in our generation. From my perspective, there’s a growing desire to return to a more analog era, particularly among younger filmmakers and artists. Films like "Backrooms" are notable examples of the "nostalgia horror" trend, indicating that younger audiences yearn for works that embody those “handmade” qualities.

      When developing the All Alone in the Soil zine with our photographer Calvin Mumm, we aimed to encapsulate the “handmade” aspects of the film into a physical keepsake that viewers could take home. In the zine's introduction, I mentioned wanting the images to reveal another side of our hearts that the film might have missed. In a world that often commodifies our attention, having something to engage with authentically enhances the cinematic experience. I hope others embrace the idea of taking their time with things.

      Tadashi Mitsui, left, and Akira Simoneau in “Monkey Drum.” Courtesy of the filmmaker.

      MovieMaker: On the sixth page of your zine, there’s a messy notebook entry with your film ideas. I doubt anyone but you could decipher it, yet it leads to such a polished film. Can you explain how those chaotic notes transform into something so refined?

      Jeremy Lu: I take no offense; I completely agree that those notes are a jumble. No director would willingly share those, so I thought including them in the zine would be amusing. I appreciate your description of the film as elegant! The filmmaking process