Me and You and Everyone We Know (2005)
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as Richard Swersey
as Christine Jesperson
as Woman Customer
as Man Tapping Quarter
as Goldfish Dad
as Goldfish Dad
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Critic Reviews for Me and You and Everyone We Know
It seems quite possible that Me and You marks the arrival of an artist who may affect -- disturbingly yet helpfully -- films and audiences to come.
Here's a perfectly twee little romance all but smothered in a blanket of indie 'edge.'
July's suspiciously contrived awkwardness notwithstanding, the picture is at its best when it cleaves to her experimental video aesthetic; framing the mundane with the wonder of a child-like perspective.
Much of this is far too precious - it's mostly for adults who impulsively put socks on their ears, as a character does here.
This wobbly low fidelity romantic comedy is filled with distinctly unlikable characters and an unsubstantiated use of child sexuality that further clouds the film's morally rudderless course.
Audience Reviews for Me and You and Everyone We Know
Lonely people converge in various storylines involving sexual development and the improbability of connection.
It's been a long time since I've seen a film that has been able to find profundity in life's little moments, but Miranda July's tour de force work in Me and You and Everyone We Know is able to find gems in everyday occurrences. The most striking example of the beauty she finds in the benign happens in the third act, so I won't give in away, but the rest of the film is subtle and poignant too. And what is a better example of achieving the Altman Standard than the reveal of whom the boys are cyber-sexting with?
I did think the film occasionally got quirky for quirky's sake like Christine putting socks on her ears, but the film's concentration on these characters' oppressive and oppressing loneliness makes the things they do for attention and recognition more motivated than a film with a weaker thematic through-line.
Overall, Miranda July has a new fan, and I have a new example of why film can be a medium that communicates the occasional sublimity of life better than any other.
Quirky, energetic and out-there. I absolutely loved it!
Oh-so-weird/indie/pretentious......but oh-so-irresistibly cute/sad/beautiful in parts (and trust me, I tried hard to resist): Richard accidentally self-immolating his hand with lighter fluid instead of alcohol; six-year-old Robby innocently cybering about pooping back and forth into each others' buttholes; Christine and Richard's meet-cute wherein they pretend to live their entire relationship together in a few street blocks; the sustained eye contact between Christine and Richard after he rejects her; Christine and Richard holding her mirror for fifteen seconds after gluing it; Peter bringing a stuffed animal for Sylvie's neurotically early hope chest, which she had heretofore filled with household appliances.
The only story I wasn't into is the two neighborhood Lolitas trying to bait a potential pedophile. None of their motivations were set up properly. The filmmaker Miranda July seems like a total wackjob, but I guess I'll give her props for being so open with her wackjobiness, for instance, Christine, her performance artist alter ego (I'm assuming). The goofy Casio keyboard-esque score is a bit cloying at times but oddly atmospheric.
I am very much enamored by John Hawkes' pugilist nose and sunken eyes. He's like an older, sadder version of DJ Qualls.
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