Everyday

Made as a solution to what director Michael Winterbottom has called “the problem of duration,” Everyday was filmed over the course of five years to tell the story of a working-class English family as its four young children grow up along with the actors (real-life siblings) who play them. It’s a wonderful idea, and one that Richard Linklater has spent the past decade working to realize on a larger scale. Everyday is a low-key charmer, featuring a beautiful Michael Nyman score and great work by Shirley Henderson as a struggling mother biding her time until her husband (John Simm) gets out of prison. Winterbottom works hard to replicate the rhythms of everyday life — the way minor panics can push everything else to the sidelines; the way that days and months and seasons tend to be punctuated by the same milestones until, before you know it, years have slipped past.

But for all that, the film is profoundly, perhaps willfully minor. Blink and you’ll miss any actual drama here: a couple of conflicts crop up but are quickly dispatched, and the only real arc involves Henderson’s lonely, barely-glimpsed dalliance with an old hometown friend. The kids act like real kids, which is refreshing, but there’s almost nothing to them — they age before our eyes, but as characters they’re almost totally static. Everyday is as limited as it is lovely. Here’s hoping that Linklater’s Boyhood, still a few years away, is a bit more ambitious.

-- Eugene Novikov

everyday-image
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One Comment

  1. john says:

    I thought that the final images was very much like the ending of The Pumkin Eater. johnj

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Screening Log

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