Me and You and Everyone We Know

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Overview

A handful of disparate characters, both adults and children, find themselves navigating the tricky waters of intimacy in this award-winning independent comedy drama. Richard John Hawkes is a recent divorcé who is alternately exhilarated and terrified with his life and the world around him. While he believes great things are in store for him, he's also become so despondent about his wife's departure that he attempts to set his hand on fire. Richard meets Christine Miranda July at the shoe store where he works; ...
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Overview

A handful of disparate characters, both adults and children, find themselves navigating the tricky waters of intimacy in this award-winning independent comedy drama. Richard John Hawkes is a recent divorcé who is alternately exhilarated and terrified with his life and the world around him. While he believes great things are in store for him, he's also become so despondent about his wife's departure that he attempts to set his hand on fire. Richard meets Christine Miranda July at the shoe store where he works; Christine likes to paint a picture of herself as a stylish and confident video artist, but in truth she supports herself as a driver with a car service for the elderly, and she'd very much like to meet someone special. As Richard and Christine fumble their way into a relationship, Richard's two sons have issues of their own. Seven-year-old Robby Brandon Ratcliff has met someone in an Internet chat room who responds to his naïve and scatological perceptions of sex, while 14-year-old Peter Miles Thompson finds himself on the receiving end of unusual and unexpected attention from two girls in his class. Me and You and Everyone We Know was the first feature film written and directed by noted performance artist Miranda July; the picture won prizes in 2005 at the Cannes Film Festival and Sundance Film Festival.
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Special Features

Closed Caption; Deleted Scenes
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Editorial Reviews

Barnes & Noble - Bill Pearis
Multimedia artist Miranda July made a splash at the Sundance and Cannes film festivals in 2005 with her debut feature, which announces her as a major talent. At its most basic level, Me and You and Everyone We Know is a romantic comedy, but that label does not do justice this story of lost, lonely people looking to connect. In addition to writing and directing the film, July stars as Christine Jesperson, a struggling video artist who pays the bills by driving senior citizens on errands. She meets a shoe salesman, Richard Deadwood's John Hawkes, and the two form an instant attraction, but it takes them a while to overcome their emotional hang-ups and act upon their feelings. Richard is recently divorced, and his two young sons Miles Thompson and Brandon Radcliff spend most of their time on the computer, venturing into sex-chat rooms even though they’re barely up to the birds and bees. We also meet a young girl already collecting items for her dowry; a pretentious museum director prone to saying things like "Email wouldn't even exist if it hadn't been for AIDS"; and two teenage girls who aren't as ready for adulthood as they might think. With its assemblage of quirky characters and awkward situations, Me and You and Everyone We Know is not that far removed from the work of Todd Solondz, but where he prefers ironic detachment, July finds hope and humanity. Like Solondz, she hits on some potentially taboo subjects, but the innocent, witty manner in which they're handled avoids any real issues with offensiveness. At first, viewers seem more in danger of overdosing on whimsy: Once immersed in July's somewhat surreal world, though, you're soon won over by its many charms. A singular vision that couldn't have been conveyed by any other filmmaker, Me and You and Everyone We Know will beguile long after the credits roll.
All Movie Guide - Brian J. Dillard
Slight, and slightly precious, this wide-eyed indie cross-pollinates the romantic comedy with the offbeat ensemble drama. Whether the results seem like Robert Altman lite or a more profound When Harry Met Sally depends upon the sensibilities of the viewer. Writing and directing her first feature, video artist Miranda July grapples with the terror and exhilaration of human interaction: love, sex, companionship, and fate. These characters -- including July's own Christine, the aspiring artist whose tentative romance frames the story -- rarely understand their own needs, let alone each other's. Their lives intersect, often in unexpected ways, yet fear and misunderstanding usually threaten any lasting connection. As a filmmaker, July favors episodes over arcs and wry chuckles over belly laughs. As a performer, she proves compellingly ethereal: evocative where she could have settled for quirky shtick. Ditto for John Hawkes, of Deadwood fame, who provides a winsome variation on the sort of wounded man-child who pops up in any number of features at Sundance every year. Really, there's not a bad performance to be found anywhere in the film. It's the overall tone that's as likely to annoy as enchant. July makes judicious use of talented composer Michael Andrews, whose previous credits include Donnie Darko and TV's Wonderfalls. His compositions help sustain the mood of ramshackle momentum and the moments of sudden, tenuous transcendence.
Entertainment Weekly - Lisa Schwarzbaum
Definition eludes the delicate pleasures of this marvelous, idiosyncratic movie collage.
Chicago Sun-Times - Roger Ebert

A film that with quiet confidence creates a fragile magic.

Definition eludes the delicate pleasures of this marvelous, idiosyncratic movie collage.
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Product Details

  • Release Date: 10/11/2005
  • UPC: 027616122940
  • Original Release: 2004
  • Rating:

  • Source: Mgm (Video & Dvd)
  • Region Code: 1
  • Time: 1:32:00
  • Format: DVD

Cast & Crew

Performance Credits
John Hawkes Richard
Miranda July Christine
Miles Thompson Peter
Brandon Ratcliff Robby
Carlie Westerman Sylvie
Natasha Slayton Heather
Najarra Townsend Rebecca
Ellen Geer
Brad Henke
Technical Credits
Miranda July Director, Screenwriter
Michael Andrews Score Composer
Amy Armstrong Asst. Director
Holly Becker Executive Producer
Peter Carlton Executive Producer
Chuy Chavez Cinematographer
Andrew Dickler Editor
Caroline Kaplan Executive Producer
Gina Kwon Producer
Yehuda Maayan Sound/Sound Designer
Aran Reo Mann Production Designer
Meg Morman Casting
Iliana Nikolic Executive Producer
Jonathan Sehring Executive Producer
Bryan John Venegas Set Decoration/Design
Christie Wittenborn Costumes/Costume Designer
John Wyatt Art Director
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Scene Index

Disc #1 -- Me and You and Everyone We Know
1. Start [7:12]
2. Good Shoes & Dead Fish [5:28]
3. Mail-In Art [4:22]
4. Talking Dirty [5:26]
5. Back and Forth [3:59]
6. Past the Halfway Point [9:40]
7. Blind Test [8:46]
8. Separation Anxiety [6:06]
9. Part of a Community [8:20]
10. "Did You Love It?" [12:28]
11. A Future With Children [7:55]
12. A Good Fit [11:43]
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Menu

Disc #1 -- Me and You and Everyone We Know
   Play
   Scenes
   Special Features
      Dleted Scenes
         For Poop, for Poop
         Robby Poops in Yard (Extended)
         Robby Poops in Yard (Shorter)
         Shamus and the Grenade
         She Looks Like a Prostitute
         Lesbian Mom
         Play All
      Previews
         Rock School
         Turtles Can Fly
         Saving Face
         Yes
         Saraband
         Heights
         3-Iron
         Beautiful Country
   Subtitles
      Subtitles: English
      Subtitles: Off
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Customer Reviews

Average Rating 4
( 2 )
Rating Distribution

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    You can count me out of this film ….sort of.

    The humor in "Me and You" is sporadic, sometimes strained, and, in one instance, blatantly infantile. A major thrill for the audience was an Internet chatroom sequence in which a 7 year old boy, Robby (Brandon Ratcliff), who seems clinically regressed, shares his fantasy children writing about 'poop' on the internet were amusing, offbeat, almost Todd Solondz-like scenes. This dear notion of sexual union makes the woman hot, she types back. July's legions just loved this sequence. And it does undeniably qualify as an original vision. But that was it. I didn't laugh again and slowly got bored. Miss July casts herself in a major role here as Christine, a dreamy wisp of a woman seeking recognition as an arty photographer who spins narratives to surround her shots. Meanwhile, she ministers to aging folks, working as an "Elder Taxi" driver and companion. She also takes a strong liking to a struggling shoe salesman, Richard, played by John Hawkes, whose looks are such that he would be perfectly cast as Zonker Harris, if a live action feature of Doonesbury is ever made. To me Miss July was just irritating and self-absorbed and every scene involving her made me feel that this film was trying to be quirky for the sake of being quirky. This is not to say that the filmmaker lacks talent. Hawkes plays the one substantial, coherent, sympathetic, if overly stressed, character in this film. Newly separated from Pam (Jonell Kennedy), he shares with her the parenting of the couple's two kids, Robby and 14 year old Peter (Miles Thompson), and perpetually looks harried as he dashes between his family and the mall where he works. Ratcliff and Thompson were okay in their roles, but they had so little to do by the end that they were wasted. The photography, editing and scene arrangements are adequate. But, beyond the difficult circumstances for Richard and his sons, there's little to care about in this film. I am normally a great fan of films where very little happens and where the ending is anything but a conclusion. But an old man banging a coin against a post and then giving the coin to the small boy? Please. Either it went way above my head or it was just another example of the pretentious, meaningless nonsense that pervaded the final hour of this disappointing film.

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  • Anonymous

    Posted March 19, 2009

    No text was provided for this review.

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