In the opening moments of the film, in a halting, forced voice, she asks, "Have you ever been outside? I mean born outside," and goes on to relish her adoption in 30 days, once her paw heals, by Sophie and Jason (Hamish Linklater). They decide that they must take advantage of their last month of freedom. "Be alert and notice everything," they say. Jason quits his IT telephone support job, Sophie her dance instructor position, and they explore life.
Open to new events and whatever comes their way, Jason goes door-to-door in LA, selling trees for "Tree by Tree." Sophie plans to create 30 dances in 30 days for YouTube, but Day 1 brings her plans to a halt. Instead, she calls a telephone number on the back of a sketch Jason bought at the animal shelter and casually begins an affair with this single father. Lest this sound at all conventional, let me hasten to add that the style and delivery have an omnipresent quirky quality that languishes in long pauses, halting comments, and nonsequiturs. Similarly, the camera sometimes frames shots farther back from the subjects than a choice for more emotional connection would suggest, though the music works beautifully.
At a few crucial junctures, the animated paws of Paw Paw express her feelings and wishes. And the moon talks, self-described as "just a rock in the sky," responding to Jason's special talent to stop time, which he needs to do when Sophie veers off course. A handful of other individuals add further eccentricity. July's nonjudgmental, gentle presentation is kind and appealing, but also self-indulgent and, honestly, sometimes dull. Occasionally, actions and comments are so truthful, even poignant that I wish the entire film had more energy and its ideas a bit more clarity. As is, The Future scores high on creativity while throwing the viewer off balance, probably what July wanted, but unengaged, not an appealing aspect. At a Landmark Theatre.