If you’re not familiar with quirky writer/director/performance artist Miranda July, she specializes in a special kind of weird that borders on surreal and also a surprising emotional poignancy. It’s been 9 years since her last feature film, The Future, and she’s back with what might be her most narratively focused and accessible yet still wonderfully weird movie yet. We follow a family of grifters (Richard Jenkins and Debra Winger as the parents) and their day-to-day struggle to con, skim, or steal enough money to get by to the next day. Old Dolio (Evan Rachel Wood) is their only child, and her role in the family is thrown into question when a new member joins their team. Melanie (Gina Rodriguez) has connections to a raft of senior citizens so desperate for attention that, if they all pose as Melanie’s family, they should be able to con these old folks of possessions they can resell. From there, the movie becomes a push-and-pull relationship between Old Dolio and the influence of her shifty family, and she questions her place in this fringe unit and whether her parents actually love her or see her as another means to get a score. Kajillionaire is loose in plot but populated with interesting characters who feel fully realized by July’s writing. She’s so good at studying human behavior and capturing it that the quirky details all feel so genuine and meaningful. Even Old Dolio’s name is a reminder of her parents’ opportunism and problematic parenting skills. She was named after a homeless man who won the lottery under the hopes that he would be grateful and put her in his will (he ended up spending his fortune on experimental cancer drugs). That’s the difference with July. A silly name could just be a disposable oddity, but for her it’s a reflection of a character’s worth and history. There are moments in the movie that achieve a level of artistic transcendence where every piece is humming beautifully together, like one moment where a dying elderly man off-screen directs the grifter family to pretend to be like his own flesh-and-blood family. They play pretend at domesticity, each assuming a doting role, and the tranquil scene of a fake family feels beautifully attuned. The moments stand out more than the whole but July’s empathetic appreciation of human fallibility keeps her from ever condemning Old Dolio’s scheming parents too much. Even the very end finds a way to turn betrayal into a message of humility. Wood (Westworld) drops her voice several octaves, wears baggy clothing, and looks extremely awkward when it comes to human contact. Rodriguez (Annihilation) is the voice of the audience and her test of how far she’s willing to excuse the selfish behavior of this clan of cons. Her burgeoning friendship and maybe more with Old Dolio is a rewarding enterprise for the characters and the audience. Kajillionaire is a gentle little movie that plays at a low-key range of human emotions yet it can still be deftly funny and surprising and heartfelt on its own unique terms. With Miranda July, she makes weird entrancing and human.
Nate’s Grade: B+