Miranda July

Three people negotiate space and energy in the Portland International Airport. "In Haysha Royko, three people sit nonchalantly in airport chairs, while their different-colored auras, or something much like auras, shape shift, overlap, and compete."

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"There are two movies I saw on TV about boys who were taken from their families and then returned to them years later. One boy was on a fun spaceship for years and the other boy was kidnapped and molested. These boys were never the same again and they just couldn't re-integrate into the family. I saw these movies when I was little. I've often described them to people, always paired together. They are sort of the comedy and tragedy version of the same story and it is a mundanely spiritual story. Getting Stronger Every Day includes these boys' tales, but they are like mystical objects placed on the living reality of the man storyteller. In other parts of the movie actual mystical objects hover in peoples lives without a myth or story attached. I like to think about how these dimensions interact simply and can be enacted: real life / story / worldly / spirit / video / flat drawing."

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Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.

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A woman observes another woman on a surveillance camera and describes her actions, with no other interaction between them.

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A 12 year-old Olympic swimmer and her mother (both played by July) speak to the public about “going for the gold”.

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Director Miranda July submitted the script for ME AND YOU AND EVERYONE WE KNOW to the Sundance Screenwriters Lab twice before the project was finally accepted, in 2003. The same year, she was invited to the Directors Lab, where she developed the following scenes.

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Madeline has become an integral part of a prestigious physical theater troupe. When the workshop's ambitious director pushes the teenager to weave her rich interior world and troubled history with her mother into their collective art, the lines between performance and reality begin to blur. The resulting battle between imagination and appropriation rips out of the rehearsal space and through all three women's lives.

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At a pivotal moment for gender equality in Hollywood, successful women directors talk about their art, lives and careers.

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Turn It Around: The Story of East Bay Punk spans over 30 years of the California Bay Area’s punk music history with a central focus on the emergence of the inspiring 924 Gilman Street collective. This diverse group of artists, writers, organizers and musicians created a do-it-yourself petri dish that changed the punk scene... and the world at large.

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The film gives an insight into the minds of leading creative figures of our time and their thoughts on the relationship between technology and creativity and the impact the arts and technology have had on one another in recent years, and how technology has influenced their life.

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Have you ever found it impossible to say something, face to face, to someone you know, someone you love? The words just won’t come out? New messaging service, Somebody, could help.

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Seth Meyers, who is "Saturday Night Live's" longest serving anchor on the show's wildly popular "Weekend Update," takes over as host of NBC's "Late Night" — home to A-list celebrity guests, memorable comedy and the best in musical talent. As the Emmy Award-winning head writer for "SNL," Meyers has established a reputation for sharp wit and perfectly timed comedy, and has gained fame for his spot-on jokes and satire. Meyers takes his departure from "SNL" to his new post at "Late Night," as Jimmy Fallon moves to "The Tonight Show".

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When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.

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Satirical sketch comedy set and filmed in Portland, Oregon that explores the eccentric misfits who embody the foibles of modern culture.

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Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.

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A documentary about the origins of Miranda July's "Big Miss Moviola" project, later renamed "Joanie 4 Jackie."

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Underage sexual activity is one of the most taboo subjects on screen. The film traces the history and representation of adolescent love and sexual behavior from Splendor on the Grass to Thirteen. It examines both the sensational teen films of the 1980s and more modern youth cinema as mediums through which teen movies play a central role in adolescent sex education.

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Indie Sex is a 2007 American television documentary film directed by Lesli Klainberg.

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Made in Hollywood is a talk show hosted by Kylie Erica Mar and Julie L. Harkness airing in syndication since September 30, 2005. The series is currently in its seventh season. The series is filmed in two studios in Los Angeles, California and New York City. Made in Hollywood also airs a spinoff series, Made in Hollywood: Teen Edition.

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Single dad Richard meets Christine, a starving artist who moonlights as a cabbie. They awkwardly attempt to start a romance, but Richard’s divorce has left him emotionally damaged. Meanwhile, Richard’s sons—one a teenager, the other 6-years-old—take part in clumsy experiments with the opposite sex.

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A man with a clipboard asks passersby a survey question: "Are you the favorite person of anybody?" He has a scale, from "very certain" on down. His manner is open. He offers oranges to one respondent. He talks, one at a time, to three people. Their answers, however brief, are revealing.

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Graffiti removal: the act of removing tags and graffiti by painting over them. Subconscious art: a product of artistic merit that was created without conscious artistic intentions. It is no coincidence that funding for "anti-graffiti" campaigns often outweighs funding for the arts. Graffiti removal has subverted the common obstacles blocking creative expression and become one of the more intriguing and important art movements of our time.

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Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.

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A young man turns from drug addiction and petty crime to a life redeemed by a discovery of compassion.

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A woman observes another woman on a surveillance camera and describes her actions, with no other interaction between them.

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A document of the Riot Grrrl and Queercore scene in the 1990s.

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The World's Fakest News Team tackle the biggest stories in news, politics and pop culture.

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A 12 year-old Olympic swimmer and her mother (both played by July) speak to the public about “going for the gold”.

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In The Swan Tool, video artist Miranda July combines video, performance, music and helium in a 'live film' about a woman who works for an insurance company. The story unites the earthly and bizarre with a surprising humour and unusual clarity. Lisa (played by July) cannot decide whether she wants to live or die. She digs a hole in her garden and buries herself. Then she tries to carry on with her life, but the thing she left behind in the garden just won't die and she can't forget it either. July finds herself literally in the film; she amalgamates with the medium when she stands between the two screens and, for instance, 'moves' a chair with her hand. The video images vary from photo-realism to abstract amorphous colour combinations. The live accompaniment by DJ Zac Love adds a third dimension to this complex story.

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What happens when a bartender on a mission to find her cheating boyfriend gets stuck driving a drunk high-schooler home? Trans Am, emergency room, strip club, showdown, vomit, sunrise. Yeah.

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A young woman forms a bond with three elderly shopkeepers when she teaches them how to swim - even though there are no bodies of water to be found.

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Single dad Richard meets Christine, a starving artist who moonlights as a cabbie. They awkwardly attempt to start a romance, but Richard’s divorce has left him emotionally damaged. Meanwhile, Richard’s sons—one a teenager, the other 6-years-old—take part in clumsy experiments with the opposite sex.

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A man with a clipboard asks passersby a survey question: "Are you the favorite person of anybody?" He has a scale, from "very certain" on down. His manner is open. He offers oranges to one respondent. He talks, one at a time, to three people. Their answers, however brief, are revealing.

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A couple checks into a suite in Las Vegas. In flashbacks we see that he's a computer whiz on the verge of becoming a dot.com millionaire, she's a lap dancer at a club. He's depressed, withdrawing from work, missing meetings with investors. He wants a connection, so he offers her $10,000 to spend three nights with him in Vegas, and she accepts with conditions. Is mutual attraction stirring?

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"There are two movies I saw on TV about boys who were taken from their families and then returned to them years later. One boy was on a fun spaceship for years and the other boy was kidnapped and molested. These boys were never the same again and they just couldn't re-integrate into the family. I saw these movies when I was little. I've often described them to people, always paired together. They are sort of the comedy and tragedy version of the same story and it is a mundanely spiritual story. Getting Stronger Every Day includes these boys' tales, but they are like mystical objects placed on the living reality of the man storyteller. In other parts of the movie actual mystical objects hover in peoples lives without a myth or story attached. I like to think about how these dimensions interact simply and can be enacted: real life / story / worldly / spirit / video / flat drawing."

Open details →

Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.

Open details →

Director Miranda July submitted the script for ME AND YOU AND EVERYONE WE KNOW to the Sundance Screenwriters Lab twice before the project was finally accepted, in 2003. The same year, she was invited to the Directors Lab, where she developed the following scenes.

Open details →