In John Cassavetes’s 1977 psychological drama “Opening Night,” star Gena Rowlands laments, “When I was 17, I…I could do anything.
It was so easy. My emotions were so close to the surface.” It’s in this soil of raw, intense teenage emotional honesty that director Josephine Decker firmly plants her adaption of Jandy Nelson’s YA novel “The Sky Is Everywhere.” In both films, artists lose touch with their craft while reeling from a sudden, expected death that shakes them to their core, though one tackles this trauma with a much lighter, rosier touch.
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