Ivan Kander

The pitch for The Seeker sounds hokey on first blush—an Amish man who doesn’t believe in God! Click the headline to learn more about the “Amish atheist!”. But, director Lance Edmands (S/W alum, Whiteout) has crafted a film that is essentially the opposite of clickbait: a patient and meditative profile of a man who, though raised in faith, has evolved to a different place.

Even though the film’s subject, Kenneth Copp, no longer believes in God, he has also not completely discarded that which made him seek inclusion within the Amish community in the first place: the “Amish way of life” is still very much a part of his existence, from his outward appearance to his dedication to simple living. It’s an interesting examination of ostensible contradictions, something that could easily have felt exploitative or like it was intended to be gawked at. Edmands, fortunately, never goes there. The Seeker is nuanced and lyrical, a film that like the person it so intimately features, is meticulous and intentionally constructed.

Despite leaving the Amish community, Kenneth still has a dedication to simple living

In Kenneth’s rejection of a belief in a higher power, we are shown both all that he has gained (a greater sense of the world, the empowerment of critical thinking, an iPhone!) and all that he has lost (a close relationship with his children, inclusion in a shared supportive community). It’s a film that not so much challenges the nature of religion but forces us to consider our own place within its framework—how much of what we believe is simply because it’s what we were introduced to at a young age, and is thus, familiar? Furthermore, can one take the benefits of religion (a shared ethos, a feeling of belonging, morality) and excise its potentially dangerous tendencies (unrelenting dogma, the rejection of logic, stigmatization).

As someone who was raised with religion (granted, I’m Jewish), the film gave me a lot to chew on. I still find a lot of comfort in the religious community and I think there is a certain humility and introspection that comes with recognizing one’s small place in something grander. But, as a logical person, I can recognize the silliness of believing literally in the fantastical.

“I knew that I had to capture his story on film” – Edmands on his decision to shoot 16mm

In that sense, Edmands neither condemns or venerates the Amish way of life, showcasing Copp as a man whose beliefs and resulting story are filled with complexities. Copp has clearly spent a great deal of time with his thoughts, and so, it’s interesting to hear them said out loud. Though the film is structurally simple, the narrative is compelling as it moves through the retelling of the various stages of Copp’s life and never feels like a string-out of unconnected soundbites (a criticism I often have of profile docs).

“His story shows us how commitment to your personal truth can sometimes be a profound choice”

Moreover, Edmands never falls back on standard documentary conventions (e.g. no talking head interview). Rather, the film is a compilation of beautifully shot 16mm footage. While shooting on film might seem unnecessary in a modern age, here it’s vital to the short’s sense of control and overall aesthetic. The grain is nostalgic—an analogue technology that complements Copp’s analogue way of life. The result is quite beautiful as the limitations of film force an intentionality into the cinematography that would probably not be present had it been shot digitally.

In his describing his inspiration for the film, Edmands writes:

The Seeker was the winner of the Vimeo Staff Pick Award at the Camden International Film Festival, in addition to being screened at Tribeca, Maryland, and Nashville (where it won an Audience Award for Documentary Short).

Edmands is currently casting his next narrative feature that is intended to go into production in 2021.