THE FUTURE

i was first introduced to miranda july when i watched her debut feature, me and you and everyone we know, at the cinema. i can remember anticipating that i would enjoy the film, but i really didn't. that being said i didn't entirely write off miss july: i thoroughly enjoyed her short story collection, no one belongs here more than you, as well as her creative output in general (the pillowcases for third drawer down, her videos and perceptive thoughts on creativity). so when i saw the trailer for the future i was ready to go along for the ride.

i think i got one minute in with paw paw the cat's decidedly creepy voice-over (which i presume is voiced by july herself) and i knew that the journey was going to be somewhat bumpy.

but allow me to start on a positive note: she wears some very lovely frocks in the film and the apartment that she shares with hamish linklater's character has a great shabby chic feel. beyond that i can't say i was terribly fussed - a fact that i found quite sad and disappointing because i wanted to love the film. now, i appreciate magic realism and i have no problem with animals communicating in cinema (arthur the dog in beginners is my current favourite), but everything is so studied and contrived in the future that it makes for painful viewing. instilling the viewer with a self-conscious sense of discomfort is quite obviously at the heart of july's film, with its focus on characters struggling to make sense of the everyday, but while it may be a fine concept it doesn't amount to a great filmic experience.

interestingly, the most recent issue of lula featured an interview with july in which she discussed the philosophy behind the film and its attempt to cinematically realise creative frustration: "i guess what i hoped was, can i, in this short hour and a half time create just that tension and then the feeling of breakthrough." the tension is definitely there, but not necessarily the breakthrough. there is also some very awkward dancing and, well, just plain awkwardness that gestures towards human disconnection and interpersonal alienation.

i was thinking about why it is that july's creative impulses, which work so beautifully in other forms, do not translate to cinema (for me at least). perhaps it is because as readers and viewers of art we are given room for our own imaginations and interpretations - an aspect that can be hindered with the all-absorbing quality of cinema.

if there is something good to come from the film, other than sartorial and interior design tips, it is the excellent the future website that has a function which can predict your future. mine read as follows:

you give into distraction as if it is a murderer. you lay there, waiting to be killed. today: fight for your life.

ok, miranda, i will.

replies

tc and aloÿse: yes, i agree.

monica: me too.

bunny: i think i have become so accustomed to the night sky in perth that i rarely give it a second glance, but i get what you mean :)

koey: thank you x

rina, jessica and jazzy e: glad you like it too.