Everyone and their brother wants to be rich and famous someday but not many realize the level of betrayal and insincerity it takes to get there. While Miranda July's excellent, little film Kajillionaire does not necessarily reach the heights of examining the rich and famous, it proves to be one of the best looks into what people would and wouldn't do for money, regardless of family. This movie is made with such a quiet and surreal atmosphere that almost makes it seem awkward at times having to watch these poor characters suffer without money. That feeling never goes away but as this film effortlessly transitions from dry comedy to drama to romance, I was nevertheless captivated the entire time. July's movie is not for everyone and while I was definitely challenged at times much more than I expected, I kinda really dug it. The story itself was also a fairly simple one but the impeccably idiosyncratic direction, performances from the whole cast, and incredible editing will draw you in and never let you go.
Old Dolio (Evan Rachel Wood), a young woman named after a homeless man who had won the lottery, has spent 26 years of her life pulling con jobs for her parents Theresa (Debra Winger) and Robert (Richard Jenkins). When the three of them meet a newcomer named Melanie (Gina Rodriguez) and take her under their wing to help with their petty crimes, Old Dolio starts to become jealous and reevaluates what it means to be family. This film, both written and directed by Miranda July, is such a unique take on the "finding yourself" narrative. Just because someone carries the title of mother or father does not mean that they are really your parents and that overarching theme becomes apparent very quickly throughout Kajillionaire. This aspect of the script is what I absolutely loved most: Old Dolio being forced to rethink the way that her parents have been using her and forcing herself to break free of their criminal grasp is such a powerful part of this story that proves July is unafraid to pull at your heartstrings. It's very important for everyone to not entirely follow in the footsteps of your parents as you grow up and the development that July wrote for the character of Old Dolio is excellent at displaying that. This challenging of Old Dolio's norms was so important for the story and I adored how she was able to grow as her own person and realize how self-centered her parents were being. July's direction is fantastic and while I was initially taken off-guard by how unique it is, I was quickly able to get on board with many of her choices. She opts to use context clues more than absolutely anything and it takes a while to get used to some of the character choices but once you do, it becomes such a fascinating experience. Her writing is phenomenal and she creates these characters in their own little bubble in such an eccentric fashion that it is hard not to at least be intrigued. July is truly able to traverse this story with ease like she's looking at the back of her hand and while the choices she made in her direction might not be everyone's cup of tea, it was just peculiar enough to make it stand out amongst so many other, generic films I have seen recently. July clearly knows how to master the ending of this film, as it not only provides a twist that some might be able to suspect but a powerful one regardless.
The performances from this entire cast are spectacular but it's really Evan Rachel Wood who steals the whole show. Her portrayal of Old Dolio is mesmerizing and while I was not quite sure what to think of it at first, the decisions Wood makes with this character become clear the more that the audience gets to know her. Since her parents birthed her purely to have as an asset and had never treated her the way a child deserves to be treated, she was almost to the point of humanistic deprivation. This element of Old Dolio was acted beautifully by Wood and the lack of affection that she was so used to was especially prevalent in her interactions with Melanie. Gina Rodriguez's performance was also spectacular and her chemistry with Wood was almost immediately palpable. The two of them provide such a nice conflict and eventual bonding throughout the film that I loved watching and it was so interesting to see the character of Melanie help Old Dolio break free and heal, both emotionally and physically. Kajillionaire reveals itself to be a character study more than anything and even though said characters were placed into offbeat situations, it is impossible not to want the best for these two leads. As previously mentioned, July's writing does wonders with showing the true nature of people once they come into a bit of money and the supporting performances from Winger and Jenkins are perfect for that. The editing in this film from Jennifer Vecchiarello was amazing and the incredibly long, extended takes were perfect for adding to the charm of this film's awkwardness. This movie might feel like it is paced weird due to the direction and editing, but the restraint that Vecchiarello shows in cutting too rapidly or more standardly makes this film that much more engrossing. The technical elements that make this incredibly quirky film so unforgettable work together in such a wonderful harmony to create an almost surreal atmosphere. I was so entranced by the world within this film and even though I was expecting more of an indie comedy based on the trailer, I was definitely not disappointed when it took an unexpected turn into the dark and dry side of its narrative. I've had quite the time processing this film and while I find it difficult to vocalize my opinions, I really believe that Kajillionaire is one that you have to experience yourself.
Although Kajillionaire may not be a film that I would recommend for people who don't have an open mind to watch, I found it engaging in all the best ways possible. Perfectly awkward direction, packed and meaningful dialogue, and some absolutely astounding performances from Wood and Rodriguez make this film such a compelling one to dissect. I'm still finding myself contemplating this movie and honestly, the more I think about it, the more I realize I've never quite seen anything like it before. July could have easily followed a more contemporary narrative structure, but her refusal to adhere to what audiences expect makes this one of the most undeniably interesting stories of the year.
My Rating: ★★★★
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