and You and Everyone We Know (2005)
Me and You
and Everyone We Know
artist Miranda July opens her film account with the quirky, affirmative,
semi-quilted Me and You and Everyone We Know. It is a Todd
Solondz type film with a feminine, though never feministic, seasoning.
The axis of July's universe is the newly divorced shoe salesman Richard
Swersey, a devoted father and employee with a good heart but wavering
psyche, and the struggling artist Christine Jesperson, a direct
non-mainstream woman looking for love and approval in persistently
unconventional ways. Around these two characters July cuts a witty and
dark, but never cynical or pessimistic slice of life. Her people might
not always act the way most people you know would, but then again, they
don't act like stereotypical film characters either, because July wants
to convey something that might make you think and view the world a wee
bit differently - if only for a moment. She questions the values of
early 21th century society in the constant focus on and apparent
openness around sex, or more precise, de-eroticized, nonconforming sex.
But that doesn't mean she condemns it, or even criticizes it. In July's
view, the classic distinction between adults and children is challenged.
She suggests that society overestimates the maturity of adults while
underestimating the maturity of children. One of several interesting
aspects of this warm, layered and refreshing film.