Film

Me and You and Everyone We Know (2005)

Beth Gottfried

e and You and Everyone We Know teaches us that life's tender intricacies and ironies can bring us closer to one another.


Me and You and Everyone We Know

Director: Miranda July
Cast: John Hawkes, Miranda July, Miles Thompson, Brandon Ratcliff, Carlie Westerman, Hector Elias
MPAA rating: R
Studio: IFC Films
First date: 2005
US Release Date: 2005-06-17 (Limited release)

When elder cab car driver/aspiring performance artist Christine (Miranda July) accompanies elderly Hector (Hector Elias) to the local department store to buy a pair of sneakers, she meets down-on-his-luck, recently separated Richard Swersy (John Hawkes). Richard is the salesman, recently separated from his wife. After noting Christine's bruised ankle, the ill effect of wearing bad shoes, Richard turns to her and says, poignantly, "You think you deserve that pain. But you don't." Though it might sound sentimental, even corny, such dialogue reveals complex truths in Me and You and Everyone We Know, co-winner of this year's Camera d'Or at Cannes.

Written and directed by performance artist July, the movie maintains a delicate balance between irony and sincerity. When Christine drives Hector home from the department store, she sees a goldfish in a bag literally floundering on the roof of a car on the highway. She mourns for the fish, relaying to Hector her anxiety over its impending death. As the scene unfolds in slow motion, the bag bounces from one car and finally lands on the roof of another before that car jerks suddenly and the bag falls to the ground.

Christine's face reflects her pain; but while her vulnerability is poignant, it's not unique to her. In the opening scene, as Richard's wife Pam (Jonell Kennedy) is leaving him, he runs to his kids' room and asks, "If you didn't know me, would you think I was a normal guy with a wife and kids?" Teenaged Peter (Miles Thompson) and six-year-old Robbie (Brandon Ratcliff), look at him uneasily. And with that, Richard heads outside, where he lights his hand on fire, his sons staring at him through the window. It seems that everyone is desperate in this film, but ultimately redemption and love win out.

At school, Peter is most attracted to the pensive Sylvie (Carlie Westerman), who keeps a hope chest and dreams of some day having a daughter to whom she can say all the things her mother can't say to her. "I will tell her she's a precious gift," Sylvie says with a tear in her eye, lying on her bedroom carpet next to Peter. They gaze up into the camera that hovers above, envisioning a world where they can never be hurt and aren't forced to be adults at such a young age.

Richard's coworker Andrew (Brad Henke) is differently troubled by age expectations, as he's an adult behaving like a child. He likes to flirt with sexually provocative teens Heather (Natasha Slayton) and Rebecca (Najarra Townsend), leaving dirty notes on his window instructing them to kiss and lick one another, when the girls knock on his door ready to call his bluff, he cowers inside, afraid to act on his apparent desires. In the department store, Andrew listens to Richard's fear of being alone: "When Pam and I first met, we'd lie in bed all day." Andrew assumes that Richard is referring to sex, but Richard corrects him. "No, we would just sleep together like babies." The men understand each other at last, as Andrew replies, "Yeah, that is beautiful." This brief interaction -- suggesting at once innocence and yearning -- reveals the film's delicate capacity to convey mixed emotions, to allow for nuance and possibility.

It's in this context that Richard's relationship with his sons anchors the film. While we never really know what went awry in his marriage, we see that he's not a model father. He's just average and that's what makes him all the more extraordinary. When Richard sees his kids silently protesting him, he can't hide his desperation; sometimes you wish he would hide it, at least a little. He's raw and discomforting. Left to their own devices while their father is working (which is most of the time), Peter and Robbie are exposed to the pitfalls of the internet, an exposed and also detached form of human connection.

Perhaps the most disturbing and yet comedic scene involves Peter and Robbie's online chat with someone who thinks her correspondent is her age, that is, an adult. Robbie instructs Peter to type: "Say, 'You poop into my butthole and I poop into your butthole... Back and forth... Forever.'" When Robbie finally meets his online paramour on a park bench at the end of the film, the scene manages to escape the pitfalls of anything remotely sketchy or awkward (though she is shocked to see him), but is instead strangely moving.

Waiting on the bench, Robbie watches a man tap a nickel on a metal sign, as the man waits for his bus. Maybe, this quiet, unforced moment suggests, we are all just passing the time here on earth. But if Me and You and Everyone We Know teaches us anything, it's that life's tender intricacies and ironies can bring us closer to one another, and to some form of happiness. Passing time won't suffice. Happiness emerges in action, some effort to reach out.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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