Kajillionaire

July’s aesthetic imagination is inseparable from her empathetic curiosity and emotional urgency; it tempers a howl of anguish at a world of pain into a kind of cinematic music that unfolds it in nuanced detail and extends a hand of consolation, even offers a note of hope.

The way July is able to juggle both the slyly cruel circumstances and the genuinely heartfelt transformation makes this her best work yet: a fractured mirror fable broken into perfect pieces.

On relationships, July remains as perceptive as ever.

A beautifully bizarre film whose considerable strangeness allows for sharp observations about family, loneliness and the terror of emotional intimacy, Kajillionaire is further proof of writer-director Miranda July’s ability to bend reality to her will.

The chemistry between Rodriguez and Wood is undeniable, and Rodriguez’s more naturalistic performance balances out her costar’s affected shuffling and deep, gravely monotone. Wood’s performance is sensitive, but it’s also silly at times.

The more I think back on Kajillionaire, which goes to digital platforms in mid-October, the more I remember lovely things in it — moments of mystery and grace that go against the absurdist grain.

At its best, Kajillionaire provides a chance for Rodriguez to play a breezy extrovert and for Wood to play a damaged introvert, and for their characters to alter and deepen through contact with each other. They’re both excellent, but they can’t make the movie any less slow, and July’s relentless whimsicality occasionally sounds some false notes.

Another outstanding comedy from Miranda July, one of the most original and insightful directors of her generation.

Miranda July’s Kalillionaire offers a glimpse into the lives of a cartoonishly frugal family **** to survive in LA county. They keep their clothes modest and live adjacent to a soap factory which keeps their living quarters routinely seeping sudds. These choices aren’t bohemian or gypsy in nature. This family is cheap. While a common struggle often creates a strong bond, there is no suggestion that this family is any closer because of their seemingly endless struggle. The audience sees just one afternoon of this family’s routine, but we get to see this family commit non payment of rent, fraud, and a federal offense to top it all off. But this life of crime isn’t for any larger scheme; it’s to survive. When this family’s luck runs out and is on the brink of eviction is when the plot kicks in and we see how deeply this family’s problems are rooted. The narrative takes no pauses to allow the audience to keep up. An hour into the movie, and the viewer may still be unsure of the protagonist’s name (which does get revealed in a hilarious anecdote). Nor does the audience necessarily need such handholding. The humor and wit of the writing distracts from the possibly confusing meandering. This is ultimately the heart of the story: the audience develops a strong, loving bond to the characters (some more than others) without really knowing why or how. But the viewer definitely bonds with Evan Rachel Wood’s protagonist. Both cajoled by her parents to live a life of crime (both petty and federal) to pay bills and survive in Los Angeles and completely emotionally neglected, the protagonist garners sympathy from the viewer and maintains an intrigue throughout the narrative. Gina Rodriguez’s Melanie acts as foil to Evan Rachel Wood’s character exuding confidence instead of doubt, obvious beauty instead of oversized track suits. As their relationship develops, both the characters and the audience gain a glimpse into the humanity of being wanted and appreciated. In a particularly poignant moment, the protagonist is rebirthed in a moment of terror accepting everything she was denied and realizing everything she will seek to gain a sense of self going forward. The culmination of both characters’ arcs leaves a satisfying, sweet taste that lingers and urges a second viewing. Knowing nothing of Miranda July’s catalogue, I knew not what to expect from this film. Based on this viewing, it could be assumed that July’s MO is to break convention, and every moment of the film that broke away from filmmaking standard are what endeared me to this film so immediately and profoundly. The acting is great, the humor unexpected, and the narrative completely novel; any one of these elements would make a film worth viewing, but together, create a film you cannot miss.

It started out very interesting and something different at the beginning but towards the end got a bit too weird. Maybe I expected something more in style of comedy (which it still was there) but towards the end it got a bit more too boring. In general it is ok, I don't consider it a bad movie or smth, but maybe not my taste.

'Kajillionaire' is not a bad movie, but some decisions make the plot feel very awkward, and not in a good way. As a self-discovery film at its core, it's very hard to get into these characters, especially with Evan Rachel Wood, whose strange voice and mannerisms kinda look like a joke. I really liked the general idea, but I just couldn't follow along with its vibe.

Bit of a letdown, it's a collection of awkwardness together. I definitely did not get the deeper meaning of the movie, if there is any. The acting is great, just the story that they're carrying I couldn't be bothered with.