Another piece of off-kilter cinema from performance video artist and short story writer Miranda July has a dreamlike self-effacing quality to it set in contemporary Los Angeles.
The Future will probably be most embraced by those entranced by her Me and You and Everyone We Know as her efforts in the interim reflect a more lithe presence to deliver subtlety, emotional and visual shadings. Hers, is an acquired taste which calls to mind the influence of intricate, idiosyncratic minds like Charlie Kaufman.
July as Sophie stars in a whimsy of genres touched by wistfulness and entrapment with Hamish Linklater (well-cast) as longtime beau Jason. Professionally, they're unable to reach their goals, with Sophie as a vigilant kind of dance teacher and Jason an information technology specialist.
The suggestive filmmaker has the skidding couple (who live in a cramped flat) having to wait a month to adopt a cat Paw-Paw (which is in medical care and provides the film's voice-over with July doing double-duty).
Both try to get over this (with Sophie's frustration on making a YouTube viral video) as she tries to create a daily new dance during this period and he stepping into an environmental campaign (door-to-door). Sophie will also take up with an older entrepreneur (David Warshofsky), a single dad of a bright adolescent after she finds his phone number on a drawing taped to the wall.
Then, The Future really drifts into uncanny surreal sequences with Jason connecting with the moon as there seems to be projections into his new milieu. July, even with a surfeit of self-conscious preciousness, is able to maintain (through the discordant) an odd sensibility through touches like a new friend of Jason's or more settled-down friends of hers.
More than a few who end up watching protagonists who probably aren't very redeeming may not like July's approach. Yet, a metaphysical spark with some variegated imagery emerges in an affecting way, especially as a caged Paw Paw keeps a handle on things.