No One Belongs Here More Than You: Miranda July

Product Information

The first sentence of the message is automatically “[Recipient’s name]? It’s me, [Sender’s Name]” — reminding the stand-in to assume the identity of the sender. In between Me and You and Everyone We Know and The Future, July began to incorporate some of the oddball avant-garde things she had done in theater performance into her films, some of which was easier to swallow on stage but not on screen, such as the talking cat in The Future, [16] which she was later criticized for by viewers. In "Something That Needs Nothing", two teenage girls run away from the suburbs together and move to the city. "In an ideal world, we would have been orphans. We felt like orphans and we felt deserving of the pity that orphans get, but embarrassingly enough, we had parents. I even had two." Again, the fantasy doesn't match the reality. The narrator, the less confident of the two girls, is deserted by her lover. To pay her rent, she gets a job in a sex shop, where she wears a wig and plays with herself while lonely men watch her through a grimy window. "I hated my job, but I liked that I could do it. I had once believed in a precious inner self, but now I didn't. I had thought that I was fragile, but I wasn't. It was like suddenly being good at sports." A couple weeks after Miranda finished shooting her first feature, she wrote three short dialogues. Miguel called together some friends and made this short film, using the three dialogues as a script. The excellent Chuy Chavez also shot “Me and You and Everyone We Know.”

Brené Brown: “Stop walking through the world looking Quote by Brené Brown: “Stop walking through the world looking

Silvers, Emma (January 21, 2015). "Miranda July on Her Love For the Gilman and Growing Up In Berkeley". SF Weekly . Retrieved October 4, 2020. If there were a map of the solar system, but instead of stars it showed people and their degrees of separation, my star would be the one you had to travel the most light-years from to get to his. You would die getting to him.”Stop walking through the world looking for confirmation that you don't belong. You will always find it because you've made that your mission. Stop scouring people's faces for evidence that you're not enough. You will always find it because you've made that your goal. True belonging and self-worth are not goods; we don't negotiate their value with the world. The truth about who we are lives in our hearts. Our call to courage is to protect our wild heart against constant evaluation, especially our own. No one belongs here more than you.” Her short video The Amateurist (1998) [36] features a dowdy researcher examining, via her own video monitor, a stereotypical "beautiful woman"; July plays both roles. [37] A lengthier video, the 27-minute Nest of Tens (2000), juxtaposes four unrelated scenarios in which "seemingly everyday people go about acting completely normal while demonstrating distinct abnormality". [36] Nest of Tens has been placed in the permanent online collection of the Metropolitan Museum of Art. [38] July was invited to design T-shirts for UNIQLO’s UT 2019 collection. In addition to hand-painted designs and original phrases by July, two of the shirts feature original graphics inspired by her personal vintage button collection. July went on to make three promotional short films for social media, entitled “How to Make a T-Shirt.”

No One Belongs Here More Than You by Miranda July - Waterstones

Written and directed by Miranda July; director of photography, Nikolai von Graevenitz; edited by Andrew Bird; music by Jon Brion; production design by Elliott Hostetter; costumes by Christie Wittenborn; produced by Gina Kwon, Roman Paul and Gerhard Meixner; released by Roadside Attractions. With: David Warshofsky (Marshall), Isabella Acres (Gabriella) and Joe Putterlik (Joe/the Moon).

You are only free when you realize you belong no place—you belong every place—no place at all. The price is high. The reward is great.” July, Miranda; Fletcher, Harrell (2007). Learning to Love You More. Munich; New York: Prestel. ISBN 978-3791337333. OCLC 171112007.