Me and You and Everyone We Know (2005)
Writer/Director/Performance 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.