I've never really dealt with death. I'm young (18), and as of right now I've had a soft, cushy childhood with school being my biggest source of stress. I have no idea if Me and Earl and the Dying Girl is an accurate or representative portrait of death, or the loss of a friend. I have no idea if Me and Earl and the Dying Girl is anything more than a teen dramedy in the stylings of Wes Anderson. But, if cinema only functions aptly if the audience could "relate", the only movie I could really enjoy is something like Fanboys. But as much as this film is about death and how to deal with it, it's also a subtle coming-of-age portrait painting a depressingly accurate picture of the narcissism inherent in adolescence. And, I think that this film approaches death in only a way a teen movie can, from the perspective of an emotionally immature and oblivious teen male. All I know is I was thoroughly enthralled, emotionally invested, and blown away by the immense maturity and honesty this film exhibited in portraying the struggles of adolescence. Gomez-Rejon uses an insane blend of styles, incredible teen actors, and Wes Anderson-esque shot selections and stylistic flairs that render Me and Earl and the Dying Girl a brilliant coming of age film seemingly hand-crafted for both Criterion-fetishists and aspiring film makers alike.

The Dissolve's Scott Tobias, in his scathing review of Me and Earl, essentially stated Gomez-Rejon's film culminated into a monument to adolescent narcissism. Gregg's worldview is so narrow, so tunneled that all of the tragedy and secondary characters around him simply function as devices to deal with his own smaller, less significant problems. I think, fundamentally, that Tobias misunderstood the idea that Me and Earl is essentially a film about perspective. The film is defined by Gregg's personality and his voice. Gregg is the center of his own universe, and all those around him are essentially boiled down to cartoonish stereotypes, thus allowing Gregg to sustain his arrogant illusion. Every character is somewhat ridiculous. Gregg's father, Nick Offerman, is an ultra liberal, artsy, and unemployed parody of quirky father-figures. Earl, one of the film's finest characters, is surrounded by exaggerated motifs of a poverty stricken, African-American adolescent in the lower class. Gregg's high-school crush "hot girl" is literally portrayed as a woodland creature who exists solely to induce awkwardness into Gregg's life. These delusions are entirely realistic to any teen-male's life. The struggle to know yourself overpowers your ability to know others. I think Gomez-Rejon is fully aware of his portrayal of adolescent males; it's not a monument to their narcissism, but an indictment to their arrogance.

A reason the film resonates so much with audiences so far is Gregg's relatability. It's a relatability that no one wants to admit they see in themselves, but something is inherent within anyone going through their teenage years. It's an inability to convey sincerity in any of it's many forms. It's the use of countless defense mechanisms to avoid true social confrontations, whether it be a catchphrase that can be repeated to a certain crowd, or hiding behind a Werner Herzog accent while mocking up a college essay. Gregg is scared to deal with reality, so he skirts around it. Crucially, Rachel's disease emancipates him from this. It is unavoidable, and infinitely more difficult to mask in a shroud of his own personal issues, because nothing really measures up. He's forced to display affection for another human being. As the film progresses, Gregg's relationship with Rachel becomes more and more compelling, as the characters grow to know and love one another.

It's a common idea that tragedy propels adolescents into adults. It's a bittersweet sentiment that forces anyone to It's crucial to note that with the progression (and culmination) of Rachel's disease, she becomes larger than life. It's the ultimate crux to Gregg's narcissistic world view. As Gregg finally reaches a certain point of maturity, he realizes Rachel is more than his friend, she's a person. He realizes everyone has struggles, a story, and internal conversations with themselves like he does. Gregg struggles with the notion that Rachel's disease isn't about him, but about her. He constantly finds a way to pity himself rather than her, needing her support rather than her needing his. The film constantly tries to remind itself that it is not about him, but about her.

But, in all honesty, it's about him.