...it's about being different, and the film's message is how people cope with it.
Greenwell doesn't need a big budget and big names to get that thought across, although the film has a consistency of tone that indicates she could do more with more. ...Greenwell and d.p. Adam Benn eschew handheld or grainy textures in favor of clear, coherent high-def, leaving any unfocused chaos in the minds of the characters."
"Writer/director Erin Greenwell confidently juggles the multiple plots, serving up a charming, up-to-the-minute slice of Americana. This is Mayberry 2012, where Opie waxes existential and Aunt Bea has finally come out of the closet. Greenwell's quirky script and great ensemble performances ensure that My Best Day is both subversive and sunny. Cue the fireworks!" - Sundance Film Festival 2012
Karen can't believe that she has to work her receptionist gig on a gorgeous Fourth of July. Then a call comes from her long-lost father. Enlisting her janitor friend Meagan to help, Karen investigates her father's trailer park home. She stumbles across a half-sister addicted to betting, a half-brother tortured by grade school bullies, a sketchy but charming buddy "just sleeping on the couch" and a potential lover in jail. Meanwhile, Meagan must decide between the stability of her longtime girlfriend and the thrill of a new love. With a small town like this, Karen's own journey sets in motion a crazy chain of events that will change not just her but this one small town forever.
"Writer/director Erin Greenwell confidently juggles the multiple plots, serving up a charming, up-to-the-minute slice of Americana. This is Mayberry 2012, where Opie waxes existential and Aunt Bea has finally come out of the closet. Greenwell's quirky script and great ensemble performances ensure that My Best Day is both subversive and sunny. Cue the fireworks!"
As a child in a dysfunctional family and midwestern native, common themes began to reoccur in my stories:
People sang secretly by themselves but never out loud with others. They kissed mirrors instead of crushes. Enemies were stuck together in jobs they hated. Mothers worked their issues out in cars; teenage siblings through fisticuffs. My characters always had simple yearnings they never laid out on the line unless forced to and from very constrictive places.
I understand now why I am more interested in presenting “small” people with “big” problems in my movies. Most of America is small people with big problems.
If this pain of reality were dealt with more, people could trust they are their own leaders rather than searching for heros.
Why use comedy to grapple with the very dramatic problems of addiction, adultery, internalized homophobia, teenage bullying and seeking one’s bloodline is simply that this is what I am naturally drawn towards doing. I can be more active through people floundering for the wrong thing and more empathetic in characters stumbling upon their own revelations.
As a filmmaker, I want nothing more than this. I want to be specific about my own perspective enough to present the much larger reality of life that we all share.
(in alphabetical order)
Rachel Style is most recently known for playing the role of Veronika, Peggy's roommate, on Mad Men. She also played Trina, Betty's best friend from high school, on Ugly Betty. Other notable TV credits include the role of Kate, the young patient going blind, on Showtime's Huff opposite Hank Azaria; as well as roles on That 70's Show, Gilmore Girls, Judging Amy and more. Her films include Charlie Wilson's War, directed by Mike Nichols; The Door in the Floor with Jeff Bridges; Killing Time (Sundance Film Festival Official Selection), and a leading role in the Hallmark movie Chasing A Dream with Treat Williams. She is also proud to have starred in Erin Greenwell's feature film debut 21. Stage roles include the lead in the West Coast premiere of the play The Glory of Living by Rebecca Gilman for which Rachel was nominated for an LA Weekly Theater Award. She holds a BFA in Drama from New York University, where she studied at the Atlantic Theater Company.
Other accomplishments include writing, producing and directing "Big Dreams in Little Hope" after which Erin was noted as Outfest's 1 in 5 Top Directors to watch. She is currently writing her feature length script, "Somewhere Along the Way" a script about the butch/femme lesbian bar scene in the 1950s. Her very first featurette, "21" was nominated for a Best First Feature Award by Frameline and ran at Bam Rose Cinemas as part of Best of the New Fest's series.
Beth Bogart - Executive Producer
Sidewalk Film Festival
Sat Aug 25
New Festival - Winner Audience Favorite Award Best Narrative Feature
Sat July 28
Philadelphia Q Fest
Sat July 14 • Mon July 16
July 13 • July 15
Frameline Film Festival
Tue June 19 • Wed June 20
Waterfront Film Festival
Tues June 15 • Wed June 16
Inside out Toronto LGBT Film Festival
Wed May 23
St. Louis Q Fest
Thu April 24 (closing night film)
The Ashland Independent Film Festival
Special Jury Mention for Acting Ensemble
Atlanta Film Festival (Actress Ashlie Atkinson in attendence)
March 29, 2012
The Portland Women's Film Festival
March 9, 2012
Winner - Audience Award - Best Feature
Sundance 2012 Film Festival