Me and You and Everyone We Know (2005)

Calificación de los usuarios:

7.4/10   

Director:

Miranda July

Guionista (WGA):

Miranda July (written by)

Fecha de Lanzamiento:

19 agosto 2005 (UK)

Género:

Comedia | Drama

Plot:

A lonely shoe salesman and an eccentric performance artist struggle to connect in this unique take on contemporary life.

Plot Keywords:

Shoe Salesman | Art Gallery | Self Mutilation | Divorcee | Hope Chest

Premios:

17 wins & 8 nominations

Comentarios de los usuarios:

Back and forth, forever

Reparto

John Hawkes	...	Richard Swersey
Miranda July	...	Christine Jesperson
Miles Thompson	...	Peter Swersey
Brandon Ratcliff	...	Robby Swersey
Carlie Westerman	...	Sylvie
Hector Elias	...	Michael
Brad William Henke	...	Andrew
Natasha Slayton	...	Heather
Najarra Townsend	...	Rebecca
Tracy Wright	...	Nancy Herrington
JoNell Kennedy	...	Pam
Ellen Geer	...	Ellen
Colette Kilroy	...	Sylvie's Mom
James Kayten	...	Sylvie's Dad
Amy French	...	Museum Assistant

También conocida como:

Tú, yo y todos los demás (Argentina) (Spain) [es]

MPAA:

Rated R for disturbing sexual content involving children, and for language.

Duración:

91 min

País:

USA | UK

Idioma:

Inglés

Color:

Color

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby Digital

Clasificación:

Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud) | Singapore:NC-16 | Australia:R | Sweden:11 | Netherlands:MG6 | Iceland:16 | Portugal:M/16 | Hong Kong:IIB | Germany:6 | Italy:T | Argentina:13 | South Korea:15 | USA:R (certificate #41449) | New Zealand:R18 | UK:15 | Ireland:18

Locaciones de Filmación:

Van Nuys, Los Angeles, California, USA

Compañía:

IFC Films

Trivialidades:

Christine's white loafers are actually Miranda July's own shoes. They're visible in a photo in the soundtrack CD.

Errores:

Continuidad: When Christine is in the car for the first time with Michael we can see in the first shot that the seat belt is twisted twice on his chest. In the next shot, it isn't.

Citas:

Michael: Ellen broke up with me.
Christine Jesperson: What? Why?
Michael: She thinks she's gonna die this week.
Christine Jesperson: No. Out of everyone at Saint Tod, she is the least likely person to die.
Michael: Well, she's usually right. She's been right about everyone else. I lived a whole life with a woman I didn't even really like. We traveled all over the world together. And Ellen and I never even left the grounds.
Christine Jesperson: Well, actually I took you to the IMAX that one time.
Michael: Yeah, but I wanted to take her to the Mayan ruins in Guatemala. She really wanted to see those.
Christine Jesperson: Yeah, that just seems weird that she wouldn't want to be with you- you know, if - her time was coming.
Michael: I've long since stopped trying to make people - do things they don't want to do.
Christine Jesperson: But she's the love of your life. You're just gonna let her go?
[...]

Conexiones de Película:

References 8½ (1963)

Banda de Sonido:

5 on a Joyride

Back and forth, forever

Miranda July's "Me and You and Everyone We Know" might be the most miraculous first fiction feature by an American in 3 or 4 years; it's rivaled only by Andrew Bujalski's "Funny Ha Ha." Christine (July) stalks the recently separated Richard (John Hawkes), who would try anything to impress his kids, and gets third degree burns for his trouble. His elder son, Peter (Miles Thompson) longs for connections that go beyond instant gratification, while the younger Robby (Brandon Ratcliff) gets all the funniest lines, mostly copied and pasted from cybersex chats.

"Me and You" is about the act of pretending and about performance as life, but first of all it's about extremely likable characters played by likable actors, foremost among them July herself, whose Carole Lombard-meets-Laurie Anderson deep ditz may be a complex stack of masks upon masks, but is more likely just the way she is.

The movie is notable for what isn't in it - both malice and pain are almost absent. Removing malice - July's world is one in which a kid can safely walk alone through some seedy parts of Los Angeles - is unfashionable, brave and, given the gentle tone of the piece, necessary. But the absence of pain isn't intentional: July would like us to feel the loneliness of the characters. But their isolation is more a trait of their personalities than a source of suffering. In this respect, the movie is perhaps too glossy for its own good. There's one excellent exception, revolving around a granddaughter's photo by an elderly woman's bedside, which becomes a substitute for a shared life that dissolved too soon.

The scene that everyone picks out is the walk to Tyrone Street. Richard and Christine decide the walk to the intersection will stand in for the relationship they're not having: first the unrelieved joy of being together, then the getting bored with each other, then the fighting and the split. Only they keep chatting flirtily, about whether the walk represents a year and a half or twenty, until they get to the corner, and then we wonder how they can possibly go their separate ways. Although this is as great as anything in the first 75 minutes of "Before Sunset," its emphasis is much more on romantic comedy than the rest of the movie. There are more typical scenes that approach this quality. A goldfish on the roof of a car. A child running his fingers through a woman's hair. A picture of a bird in a tree, in a tree. And the ending, where it seems human actions are motivating the sunrise.

The scene I consider the finest is a quiet one: Sylvie (Carlie Westerman), a tween spending her childhood preparing for life as a homemaker, gets a gift from Peter: a plush bird. ("It's for your daughter.") It would be unusual merely for depicting a platonic friendship between kids of different genders and different ages. But it's remarkable for crystallizing what it seems every filmmaker is trying to say these days: that there's something to be gained from thinking like a child. Through July's lens, it doesn't seem like a regression: no redundant literalization of fantasy is necessary. The achievement of "Me and You and Everyone We Know" is to show how the mundane moments of our lives can be mundanely transformed by imagination.