Michael Andrews
Me And You And Everyone We Know

THE REVIEW

When you think about a film, the first thing that comes to mind are images (perhaps with their respective dialogues). Until the aforementioned “Me and You and Everyone We Know,” I had never understood what was truly meant by a film soundtrack: something that goes hand in hand with the movie? Something that adds color and harmony to the celluloid?? Something that aids in understanding the film??? No needless discussions: the soundtrack is the film and these 16 tracks are the concrete proof of it.

Relaxing, beautiful, moving, seamlessly blended with the entire film, fitting into the sweetest scenes, the funniest, the most enchanting, immediately passes as something that, in my opinion, alters the film by making it a little gem (the critics have, in many respects, torn it apart). A bit of sweet electronic melody, pianos, strings and much more. Stories that intersect and then converge into common endings, a soundtrack that, even if in my opinion unintentionally, perfectly conveys the idea: different music but on the same wavelength, none out of place, all perfectly coherent with the film.

At the fifteenth “position” we find Virginia Astley with a track from the 2003 album “From Gardens Where We Feel Secure” (specifically A Summer Long Since Passed) and in the thirteenth spot the Spiritualized with the debut single from 1990 “Anyway That You Want Me.” Moreover, it's noteworthy to mention the presence of a beautiful “Five On A Joyride” in the sixth “position” written by Cody Chesnutt and featured in his 2003 album “The Headphone Masterpiece.” Coming back to talk about criticism and judging a bit myself: with arrogance, I would like to be a bit mean and tell off the portion of the critics who have consigned this film (because it is indeed a film) to oblivion. I wouldn’t know what more information to provide, I've taken on the “task” (albeit with utmost pleasure) of presenting you this masterpiece (and I don’t think I’m exaggerating since even the 5-star ratings are given to the farting of the dying, in my insignificant judgment).

I feel the need to thank Michael Andrews (author of most of the tracks that make up the soundtrack, also the author of the Donnie Darko soundtrack) and Miranda July, the director and one of the protagonists (she plays Christine Jesperson, a cheerful and somewhat complex artist looking for her love) (from a dialogue with her and herself that portrays her great love, the first track of the album is derived). Best regards