You, Me, and Everyone We Know by Miranda July

When we stop thinking about the movie and move onto another, then the movie is over.

–ties something up, leaves something purposely hanging, but is thoughtful and well executed, also well timed=satisfying ending

Two specific scenes that conform to traditional Hollywood narrative patterns are:

  • When Bobby meets the person he has been chatting with on the computer in real life and it is the curator. Then once the curator pecks him, she walks off. All questions are anwered about her, and enough for the time being, about him. The context is super strange, but I think it was handled in a normative hollywood fashion.
  • The two sex obsessed highschool girls interactions are somewhat fully realized narrative entities in that we get what they are about. Their interactions have follow through and we see their inside discussions and plans so there isn’t really any mystery about what they are about.

Two specific scenes that deviate from traditional hollywood narrative patters are:

  • The fact that the two sons are more estranged from their father than their mother even though they spend less time with their mother. Their silent treatment baffles me.
  • The older brothers role in introducing the chatroom to his little brother.

I think July’s overall goal for this film is to show the importance of romance, love, and sexual personhood to each and every person. People are much happier when they have fulfilled that side of their lives.

I think that she sometimes leaves things in an awkward break because it serves to emphasis the particular state of a person’s sexual path or self. for example, the little girl obsessed with her hope box is an unrealized sexual person. However, she is working on becoming realized in her own way as she fills her hope chest.

Since this film has controversial scenes in it, I think that conforming to the Hollywood Classic narrative patterns helps people to swallow those scenes in the intended way. This helps to leave nothing too up for miss-interpretation. At the same time, July does not stuff the obvious down viewers’ throats with too much information. She reaches a nice balance between the two patterns of narration she uses in this film.

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