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Miranda July’s “Me and You and Everyone We Know” premiered at Sundance in late January 2005, a few short weeks before YouTube went live on Valentine’s Day the following month. MySpace was in its infancy, Twitter hadn’t even been conceived, and Facebook was still new enough that most people just used it to “poke” strangers they didn’t have the courage to wave at in class.
While Paul Haggis’ “Crash” typified the kind of movies people were making about modern dislocation (read: self-absolving security blankets that wanted you to think a little irony would be enough to erase society’s oldest stains), Miranda July’s first feature poked its head into arthouse theaters with the prognosis to a problem that most of us hadn’t been able to put a finger on yet. July’s debut feature wasn’t the first movie about the internet (a sub-genre that had