| Photos (See all 10 | slideshow) | Videos (see all 12) |
| Hamish Linklater | ... | Jason | |
| Miranda July | ... | Sophie / Voice of Paw-Paw | |
| David Warshofsky | ... | Marshall | |
| Isabella Acres | ... | Gabriella | |
| Joe Putterlik | ... | Joe / Voice of The Moon | |
| Angela Trimbur | ... | Dance Studio Receptionist | |
| Mary Passeri | ... | Animal Shelter Receptionist | |
| Ella | ... | Real Cat | |
| Kathleen Gati | ... | Dr. Straus | |
| Clement von Franckenstein | ... | Alain First Solicitation | |
| Tonita Castro | ... | Second Solicitation | |
| D.A. Sandoval | ... | Neighbor Woman (as Diana Sandoval) | |
| Mark Atteberry | ... | Tree by Tree Canvasser | |
| Frank Langley | ... | T-Shirt Puppeteer | |
| Erinn K. Williams | ... | Tammy | |
| Oona Mekas | ... | Sasha | |
| Ryker Baloun | ... | Barry at 3 | |
| Olivia Thiering | ... | Carrie at 3 | |
| Taylor Cosgrove Scofield | ... | Barry at 10 | |
| Sara Rodier | ... | Carrie at 10 | |
| Matthew Dunn | ... | Barry at 15 | |
| Brittney Hewitt | ... | Carrie at 15 | |
| Bru Muller | ... | Barry at 35 | |
| Aubree Knecht | ... | Carrie at 35 | |
| Samantha Milazzo | ... | Jayleen | |
| Andy Forrest | ... | Last Solicitation |
Directed by | |||
| Miranda July | |||
Writing credits(WGA) | ||
| Miranda July | (written by) | |
Produced by | |||
| Aaron Beckum | .... | associate producer | |
| Gina Kwon | .... | producer | |
| Verona Meier | .... | assistant producer | |
| Gerhard Meixner | .... | producer | |
| Lissi Muschol | .... | assistant producer | |
| Roman Paul | .... | producer | |
| Mary Prendergast | .... | associate producer | |
| Rod Smith | .... | associate producer | |
| Sue Bruce Smith | .... | executive producer (as Sue Bruce-Smith) | |
| Chris Stinson | .... | co-producer | |
Original Music by | |||
| Jon Brion | |||
Cinematography by | |||
| Nikolai von Graevenitz | (director of photography) | ||
Film Editing by | |||
| Andrew Bird | |||
Casting by | |||
| Nicole Abellera | |||
| Jeanne McCarthy | |||
Production Design by | |||
| Elliott Hostetter | |||
Art Direction by | |||
| Ruth De Jong | |||
Set Decoration by | |||
| Max Juren | |||
Costume Design by | |||
| Christie Wittenborn | |||
Makeup Department | |||
| Akiko Matsumoto | .... | makeup artist | |
| Sabine Schumann | .... | key makeup artist | |
Production Management | |||
| Brian Buckland | .... | unit production manager | |
| Rebekka Garrido | .... | post-production supervisor | |
| Brad Goodman | .... | post-production supervisor (as Bradley M. Goodman) | |
| Michael Reuter | .... | post-production supervisor | |
Art Department | |||
| William Bryan | .... | paw maker | |
| Brett Chapman | .... | property master | |
| Claire Hendon | .... | art intern | |
| Randy Jameson | .... | lead carpenter | |
| Sandra Jameson | .... | set painter | |
| Sara Beckum Jamieson | .... | art department production assistant | |
| Manette Kaisershot | .... | art department production assistant | |
| Drew Livermore | .... | video programmer | |
| Austin Lovell | .... | carpenter | |
| Terence McFadden | .... | storyboard artist | |
| Sally Park | .... | assistant props | |
| Kristin Rowland | .... | art shopper | |
| Sean Tejaratchi | .... | graphic designer | |
| Mari Yui | .... | art swing | |
| Nick Mongoni Jr. | .... | art department production assistant (uncredited) | |
Sound Department | |||
| Adrian Baumeister | .... | dialogue editor | |
| Amber Conroy | .... | boom operator | |
| Dominic Fitzgerald | .... | sound effects editor | |
| Lars Ginzel | .... | sound re-recording mixer | |
| Dennis Grzesik | .... | sound mixer: additional photography | |
| Johannes Hampel | .... | foley recordist | |
| Rainer Heesch | .... | sound designer | |
| Christian Lerch | .... | dolby consultant | |
| Peter Roik | .... | foley artist (as Peter Roigk) | |
| Tula Snoeck | .... | boom operator: additional photography | |
| Kent Sparling | .... | recordist: Paw Paw voice | |
| Michael Tyabji | .... | recordist: voice-over | |
| Rosa Tyabji | .... | recordist: voice-over | |
| David F. Van Slyke | .... | adr supervisor | |
| Patrick Veigel | .... | sound mixer | |
| Roman Volkholz | .... | foley editor | |
| Rainer Heesch | .... | supervising sound editor (uncredited) | |
| Eric Horstmann | .... | re-recording stage engineer (uncredited) | |
Visual Effects by | |||
| Britt Dunse | .... | title artist | |
| Rudolf Germann | .... | visual effects | |
| Grant Keiner | .... | visual effects supervisor | |
| Eliza Pelham Randall | .... | visual effects supervisor | |
| Andreas Schellenberg | .... | visual effects artist | |
Casting Department | |||
| Joanne Bloom | .... | casting associate | |
| Brandi S. Hawkins | .... | extras casting director (as Brandi Hawkins) | |
| Ruth Lambert | .... | voice casting | |
| Robert McGee | .... | voice casting | |
| Jessica Munks | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Mairi Chisholm | .... | assistant costume designer | |
| Anni Speckheuer | .... | set costumer | |
Editorial Department | |||
| Sandra Aichinger | .... | in-house producer: ARRI | |
| Jens Beyer | .... | digital colorist | |
| Madeleine Gavin | .... | additional editor | |
| Javier Marcheselli | .... | assistant editor | |
| Gregor Pfüller | .... | digital intermediate supervisor (as Gregor Pfueller) | |
| Mary Prendergast | .... | post-production coordinator | |
| Lissette Rodriguez | .... | additional assistant editor | |
| Beate Trathnigg | .... | in-house producer: ARRI | |
| Gregor Wille | .... | digital intermediate supervisor | |
| Robert Grigsby Wilson | .... | assistant editor (as Robert G. Wilson) | |
| Kristin Yawata | .... | post-production intern | |
Music Department | |||
| Peter Afterman | .... | music consultant | |
| Eric Cadieux | .... | music editor | |
| Tim Koh | .... | music consultant | |
| Greg Koller | .... | score engineer | |
| Alison Litton | .... | associate music supervisor | |
| Bret Rausch | .... | music assistant | |
| Margaret Yen | .... | music supervisor | |
Transportation Department | |||
| Jay Norof | .... | transportation captain | |
| Hugo Ocana | .... | driver | |
| Tony Ruiz | .... | transportation coordinator | |
| Donald Tillman | .... | driver | |
| Matt Voytish | .... | transportation co-captain (as Matt ;B.B.' Voytish) | |
| Evan Fitzsimmons | .... | additional driver (uncredited) | |
Thanks | |||
| Miguel Arteta | .... | special thanks | |
| Spike Jonze | .... | special thanks | |
| Joe Putterlik | .... | dedicatee | |
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| The Present | Prime | Blue Valentine | Prozac Nation | The Mirror Has Two Faces |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Germany section |
An odd-duck couple who have had plenty of years to be married (read: get bored) and far too much time on their hands decide to adopt a cat. They can't pick it up for a month because it's undergoing some medical treatments, and they're warned that if they fail to arrive on the designated date the cat will be euthanized. The prospect of that last month of freedom before they make a commitment to something other than themselves opens up a fissure in their lives and threatens to destroy a complacency they had begun to take for granted.
The fact that adopting a cat counts in their lives as a commitment great enough to alter their lives forever should tell you a little something about the personalities of these main characters, and if we end up being fed up with both of them, and her especially, I think we're meant to. It's nearly impossible to sympathize with people whose lives are basically so cushy that taking on a pet takes on the momentous proportions of a major life event -- but then I think of my own life, and how good I basically have it, and how good even the most average American basically has it, and how most of my problems would seem pretty petty to a lot of other people out there in the world, and realize that maybe what annoys me about these characters are the qualities I see in them that most annoy me about myself.
"The Future" I think is a cautionary tale about what happens to people when they spend all of their lives worrying about what their lives could be instead of accepting what their lives actually are. At some point, everyone gets to an age where he or she has to simply commit to SOMETHING, whether it be another person, a child, a cause, a pet, a life path, a career. Whatever it is, they have to make a conscious choice to make the best of what they have and stop worrying about what could have been. Easier said than done, probably, or many many people would be much happier.
I liked "The Future" well enough while I was watching it, but I can't say it really stuck with me. Miranda July has an off-beat writing and directorial (not to mention acting) style that will probably turn off some. I'm o.k. with it, and I must say that for once it was refreshing to see a movie in which it's the female rather than the male who does a worse job of dealing with a mid-life crisis. Thank you Ms. July for equaling the playing field a bit.
Grade: B