flâneur

Miranda July Turns the Lights On | The New Yorker

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Miranda July is good at plot. Stories will come to her fully formed, like a gift from the gods; all she has to do is unwrap them. In her Los Angeles office, a little house where she keeps more than three decades’ worth of papers, photographs, awards, cassette tapes, and costumes, is a notebook that she filled in a single feverish train ride with the bones of her first feature film, “Me and You and Everyone We Know” (2005). Something similar happened with her first novel, “The First Bad Man” (2015), and with her latest movie, “Kajillionaire” (2020): a sudden vision, a pause to ponder, then a rush to get it all down. July is a director, a performer, and an artist who likes to work in media that do not seem to be media at all until she shows up to exploit their latent possibilities. She has opened an interfaith charity shop in a fancy London department store and created an app that allows strangers to deliver intimate messages and narrated the inner monologues of models during an Hermès f

Save this story Save this story Miranda July is good at plot. Stories will come to her fully formed, like a gift from the gods; all she has to do is unwrap them. In her Los Angeles office, a little house where she keeps more than three decades’ worth of papers, photographs, awards, cassette tapes, and costumes, is a notebook that she filled in a single feverish train ride with the bones of her first feature film, “Me and You and Everyone We Know” (2005). Something similar happened with her first novel, “The First Bad Man” (2015), and with her latest movie, “Kajillionaire” (2020): a sudden visi

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