Everything Everything feels far more realistic than it should do
The premise of a seriously ill girl, housebound and lonely, falling in love with the boy next door always looked to be a flimsy one. With no contact, the pair become intertwined through texts and windows, with an inevitable meeting defying all rules, the story is naturally predictable.
However, the film raised from the seemingly barren land is actually a strong effort. It doesn’t suffer from the ‘cheese factor’ romantic comedies aimed at teens often do. It will always have a stupid premise, but director Stella Meghie manages to create the story in a world of separation. A world where this is far more plausible than it first seems. Keeping it to a small cast with strong character focus, Everything Everything feels far more realistic than it should do.
This is naturally helped by quality performances from young actors Amandla Stenberg and Nick Robinson. Whilst making the relationship substantially less creepy than it should do, they work well on screen as not just a believable relationship but an enjoyable one. There are incredibly accomplished actors who have failed to produce such a connection when falling in love on screen, and credit is due to these young performers for doing just that.
The overall feeling of the picture does tend towards a theatre production rather than a film, with not just its set design but the actual outlook Everything Everything settles upon. It holds a very close nature throughout, and it works well as an immersive piece not just the telling of a story.
With a puny budget compared to the majority of releases it is competing against, Everything Everything should be used as an example of exactly how to make a good film from tough circumstances.