‘Kajillionaire': Sundance Indie Proves There is No Other Director Quite Like Miranda July [Review]

Miranda July sees the world in such beautifully unique ways. In “Kajillionaire,” she tries to show us how we all need warmth and human connection in life, no matter how much we try to self-isolate ourselves. How’s that for relevance? Although the film feels slight at times, there is an abundance of humanism in July’s screenplay. The strangeness of the whole thing may distance some, but this writer-director is a true original.

And so, “Kajillionaire,” has the uber-talented writer-director of “Me, You and Everyone We Know” tackling the Dyne clan, a husband-wife-daughter team of criminals forging petty crimes in Los Angeles. These eccentric neurotics embrace the dream of someday becoming “Kajillionaires.” The Dynes are Robert, Theresa (Richard Jenkins and Debra Winger), and their 26-year-old daughter Old Dolio (Evan Rachel Wood). They dress like shlubs, in oversized thrift shop-like clothes, whilst their daughter Old Dolio (I know, that name) lacks the emotional development and quite frankly, maturity, to make it in the real world. In fact, all three of these outcasts look like they belong on another planet. They seem to operate on a daily basis solely to pay the $500 rent of their cubicle office home, which is three months overdue. They eventually meet a millennial (Gina Rodriguez) who helps them plan a con to pay their debts.

“Kajillionaire” is another Focus Features’ title, much like “Never Rarely Sometimes Always” and “Emma,” that could just bypass theaters entirely and go straight to VOD this fall, depending, of course, on whether on movie theaters reopen. For now, it is set to be released in theatres on September 18th. July’s film was named as an official selection of the canceled Directors’ Fortnight at Cannes. The project is July’s fourth movie following “Joanie4Jackie,” “Me and You and Everyone We Know,” and “The Future.” Much like those other mentioned films, it’ll no doubt divide movie audiences looking for some kind of comfort in their movie-watching, but for the rest of us, this is the kind of cinematic oasis we badly need in 2020 — it may not be perfect, but, truly, what is? [B-]