At this year’s Sundance, I skipped Me and Earl and the Dying Girl because, let’s be honest, it’s not a great title. I took in Noah Baumbach’s ruthlessly silly Mistress America instead with Earl playing just a screen over. Had I known it would go on to a standing ovation and stealing US Grand Jury and Dramatic Audience Awards at the fest, I probably would have hung around. Since its premiere, M+E+DG has gone on to become an audience favorite and critical darling throughout the territories its played, holding onto its 100% Rotten Tomato score. Having said that, I still wouldn’t suggest plopping “Dying Girl” into any future movie titles. Still a major turnoff.
Six months ago, Alfonso Gómez Rejón‘s stock was of Jordan Belfort’s penny list variety. He himself had to push it on people. And that’s exactly how he landed a gig directing the Sundance-winning, indie-record-breaking, standing-ovation-inducing Me & Earl & The Dying Girl [our review here]. Says Rejón, “I had to fight for the job…. It was torture.” But Rejón would gleefully admit that the painstaking process that got him from point A to point sitting behind that coveted director’s chair was one well worth it. After all, he’s gone from penny stock to Fortune 500 in one quick go. Read More