Originally published in Verbicide issue #17

IFC Films
97 min., dir. by Miranda July, with John Hawkes, Brad Henke, and Miles Thompson

With refreshing originality that celebrates the practice of independent filmmaking, Me and You and Everyone We Know is sure to leave an impression on all of the above.

Although a newcomer to the medium of film, director Miranda July is no stranger to art. As a musician and short story writer, July has had no trouble proving her talents in the realm of self-expression. But Me and You marks a new level of achievement, and is sure to make July a household name among independent filmmakers.

July stars in her film alongside a familiar face, John Hawkes, most recognized for his work in Hollywood hits like The Perfect Storm and Identity. July and Hawkes serve as the backbone of the entire plot, a story that succeeds in showing the beauty of human connection. Hawkes plays Richard Swersey, a parent of two children and a recent divorcé. Unsatisfied with life and uncertain about his future, Swersey finds himself on a new path when he meets struggling artist Christine Jesperson (July). A chance meeting at a shoe store (Swersey’s place of occupation) brings together these two lost souls who begin an exploration of what they really want and, more importantly, what they really need. By using side stories — which include Swersey’s naïve yet brilliant children, and two sexually confused teenage girls — Me and You and Everyone We Know not only shows us just how valuable our connections with other people are, but how fragile they are, too.

Perhaps the greatest achievement of this film is the writing. It is rare when an audience can sit through an entire movie and never feel that they are witnessing a story that has been told before in one way or another. One of the first images of the film, a man lighting his hand on fire, serves as the perfect visual to describe the unique movie-going experience the viewer is about to undergo: something unlike anything you’ve ever seen. However, even with extremely strange (and oftentimes hilarious) characters, July manages to keep the film grounded in reality. With so many “indie” films produced each year that enforce “weird for the sake of being weird,” July’s oddities have purpose and meaning. We might not be able to always relate to the constant awkwardness of these characters, but we never doubt that they’re out there somewhere. Me and You makes a strong point that in today’s crazy world, being “normal” may be as impossible as it is irrelevant.

Of course, when dealing with low-budget films, the acting can commonly suffer from not being able to afford the biggest names in Hollywood. Me and You reminds us that fame doesn’t equal talent, and vice versa. Excluding Hawkes (who’s never enjoyed as bright a spotlight), the film’s cast is composed of no-names. It’s possible that will soon change, as everyone in the movie shows enormous potential. July and Hawkes are brilliant as the lead roles, but let’s not forget Miles Thompson and Brandon Ratcliff playing the independent Swersey kids, who must figure much of life out on their own. And then there’s Najarra Townsend and Natasha Slayton as two neighborhood girls struggling to understand their sexuality. Me and You is a fine example of a group committed and serious artists getting together to do what they love. Whenever this happens, it’s safe to say the result will be spectacular.

It will be interesting to see the sophomore effort of Miranda July. After such a unique film as this, one can’t help but wonder what else she has in store. But for now, Me and You and Everyone we Know will serve as a great escape from the boring Hollywood norm to something intelligent, entertaining, and above all, very special.