Directed by Alfonso Gomez-Rejon
The much-loved Sundance smash of the year, Me and Earl and the Dying Girl, is the bittersweet coming-of-age film full of pop-culture references and witty, insecure teenagers that everybody’s talking about. Adapted from the novel of the same name, Earl features a few minor differences in narrative from it’s written counterpart, that might – depending on who you are – alter your perspective about the lead character, Greg Gaines (Thomas Mann). The film version is perhaps more emotionally solipsistic than the book, as we dive into the subjective imagination of “Greg-the-filmmaker”, replacing verbal and internal reflection with pastiche-heavy scenes, Sergio Leone soundtracks and Wes Anderson camera movements aplomb. I encountered moments in the film where I would find myself both enjoying and disliking it at equal measures – part of me enjoyed the playfulness of it’s style, but other times I found it on the level of “irritatingly quirky”. Part of me was hugely turned off by how narcissistic and lazy the protagonist character was, but the other part of me saw a validated truth in the character: people like Greg Gaines really do exist, and to my very real frustration, they might never have their third-act change-of-heart, like we hope Greg has by the film’s conclusion. I’m probably getting off-track here – Me and Earl and the Dying Girl is still an intriguing, melancholy experience, which is still grounded in real emotions, by a great cast and a beautiful soundtrack by Brian Eno. Who knows, it’s the kind of film that could help people.