The first screenplay to be produced by novelist Dave Eggers, co-written by his wife Vendela Vida, is Away We Go, one of the dark horses coming out this summer amongst immense blockbusters.
Directed by Sam Mendes and starring a remarkable duo that Eggers and Vida had in mind from conception — The Office’s John Krasinski, and SNL’s Maya Rudolph — this isn’t exactly a no-name indie. But even with a strong list of credits, the film manages to surprise the audience with its daring depth and departure from what is expected.
This story is a great example of the “new story structure” of the myth genre that emphasizes context, especially between differing cultures.
The story begins when pregnant Verona and boyfriend Burt learn that Burt’s parents are moving to Belgium a month before the baby comes. Faced with having no friends or family in the area, they come to the realization that they are free to move anywhere they want.
A list of possible cities near friends is created, and an itinerary set in place.
Burt and Verona give each city a trial period, finding opposition in each place with loved ones who are never evil or aggressive opponents, but rather, that represent a culture and context Burt and Verona do not feel at home with. As the couple decides against one city after the next, they outgrow each set of old friends as they come to some very serious self-revelations while preparing to become new parents.
The journey ultimately takes Burt and Verona to their perfect new home, but only after achieving the growth necessary from them to call this new place home and raise their family there. Away We Go is essentially a coming-of-age story for two self-proclaimed screw ups in their 30s, and a touching film as well.
