Imagine a romance where you fall in love with a different person each day. Now, imagine that the being occupying your lover's body is the same being you encountered the day before in a different body. Each day that the spirit of your lover inhabits that body, the original owner is sequestered elsewhere. Afterward, he or she has no memory of this virtual body snatching. "The Vow" director Michael Sucsy's "Every Day" qualifies as something fresh, rewarding, and different from the usual Young Adult fantasy teeming with angst-riddled youth negotiating the obstacle course of love. "Me and Earl and the Dying Girl" scenarist Jess Andrews adapted David Levithan's 2012 novel "Every Day." Since I haven't read the novel, I cannot comment on the film's fidelity to the source material. Unfortunately, neither Sucsy nor Andrews shed light on some of the questions that you cannot help pondering throughout this provocative, 95-minute, PG-13, soaper. Presumably, they saw no point in answering these questions because it would interfere with the buoyant romance that unfolds for Angourie Rice as the girl who experiences love with a different face each day. Mind you, despite the apparent problems that would dog such a relationship, the heroine has no problem finding her lover in his or her's new body. Certainly, "Every Day" embraces the idea that love is more than skin deep. Our heroine finds herself adapting on a daily basis to her lover's choice of bodies, not only racially different, but also sexually different. At times, the heroine's lover appropriates the body of a lesbian or a gay guy. Despite these radical departures, she maintains the relationship without question. No, "Every Day" differs from the conventional Young Adult bathos and indulges itself in ways that heretofore have never been tried. Indeed, it has the sensibility of an indie film with its experimental storyline and its willingness to cross gender boundaries without the standard melodramatics. Angourie Rice is splendid as Rhiannon, and the youthful cast doesn't embarrass itself. The same can be said for the adults who play the parents. The disembodied consciousness known soully as "A" follows a pattern that takes it from teens with few problems to teens with overwhelming woes. The bittersweet ending is a blessing, too, because our heroine learns that you don't always get what you want when you fall in love.
