On Wednesday night I saw an early screening of Miranda July’s second film, THE FUTURE, an event I’ve been anticipating for months. Let it be known that I’m a true and unabashed fan, and while I don’t align myself with the brand of fangirl that accosted July after the screening armed with happy smiles and cute haircuts, I did indeed sign up for her biweekly life forecasts, which arrived in my inbox with the subject, “Your Future.” Though one prediction was actually dead on, mostly the emails were charmingly inaccurate, like yesterday’s, which read: “You become aroused in a new way. I don’t mean poetically – it will happen in the genital area. But not how it usually does. Good luck, Miranda.”
Miranda July (Photo credit: Yvan Rodic/FaceHunter).
One of the latest films to land a distribution deal is Miranda July’s THE FUTURE, the filmmaker’s much-anticipated follow-up to 2005’s ME AND YOU AND EVERYONE WE KNOW. On Friday, it was announced that Roadside Attractions will be releasing THE FUTURE.
But despite Indiedom’s worship of all things July, and the mania stirred by ME AND YOU, THE FUTURE was one of those films that scratched, as opposed to scorched, the Earth in Park City. Reviews were mixed—”bleak but charming” was an oft-heard refrain—with much fuss made over the fact that the film is narrated by a cat; a device that people we spoke to, anyway, found either brilliantly imaginative or bizarre.
The inclusion of “The Merchant of Venice” amongst Shakespeare’s comedies has often puzzled scholars. The overriding themes of revenge, hatred and punishment leave little room for the bawdiness and levity that marks the bard’s better known comedic works like “Twelfth Night,” “As You Like It,” and “A Midsummer Night’s Dream.” But those puzzled scholars need only look to director Daniel Sullivan’s take on “Merchant” to find the humor absent from nearly all other productions.