Film
The Sky Is Everywhere
A teen musical prodigy grieves her sister's death while falling for two different boys—one new at school, one her sister's boyfriend. It's a film about how music and imagination become survival tools when real life becomes unbearable, anchored by Grace Kaufman's tender, complicated performance. For anyone who's felt too much too quickly.
If you liked this
The Fault in Our Stars2014
Captures the same bittersweet ache of young grief and unexpected romance. Two people falling while loss surrounds them, with enough humor and heart to survive the sadness without flinching from it.
But The sentiment can feel calculated, and the central tragedy is signposted from the opening credits. It doesn't surprise you—it just makes you feel what it set out to make you feel.

Everything Sucks!2018
A short, joyful show about two high school misfits falling in love while making theater. It has the same energy of art as lifeline and young romance as salvation, but leans harder into humor and actual fun.
But Only one season, which means a cliffhanger ending that never resolves. If incomplete stories infuriate you, skip it.

Love, Victor2020
A teen navigating identity, family conflict, and first love with genuine warmth and no cynicism. It's tender without being saccharine, and it trusts its audience to care about people rather than plot.
But The pacing can drag in the middle seasons, and it occasionally leans on sitcom conventions that feel at odds with the serious material.

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The wildcard
Something you would not have found on your own.
Heartstopper2022
Same register of feeling, opposite emotional weather. Where *The Sky Is Everywhere* moves through loss toward meaning, *Heartstopper* moves through doubt toward belonging. They're kindred in tone but inverted in trajectory.
A radiant British coming-of-age romance between two boys, drawn in a bright illustrative style. It has the same emotional honesty about first love and the same conviction that art and connection matter more than anything. But it swings toward joy and safety rather than grief.
But The relentless tenderness might read as saccharine if you're in a cynical mood. Also, it's almost aggressively wholesome—if you need edge or moral ambiguity, this will feel naïve.

More like this (7)
All the Bright Places2020
Two damaged teens find each other and briefly save each other through shared passion and understanding. Like *The Sky Is Everywhere*, it finds beauty in darkness without denying the darkness exists.
But The ending hits with deliberate gravity that some find beautiful and others find manipulative. Worth knowing what you're signing up for.

Once2007
A Dublin busker and a woman who listens connect through music in a single night. Minimal plot, maximum emotional texture—the songs *are* the story, and they're devastating.
But If you want conventional narrative structure and character arcs, this will feel like watching people talk and play guitar for 80 minutes. Which is what it is.

Never Have I Ever2020
A grieving teen finds her voice and her life through sex, friendship, and saying no to people's expectations. Smart, funny, full of specificity, and genuinely moving about loss without ever becoming maudlin.
But The humor is fast and sometimes cruel, and if you're sensitive to jokes at the expense of supporting characters, you'll flinch. The tone can also feel scattered.

Heartbeat2022
A teen girl with a prosopagnosia (face blindness) falls in love while grappling with family loss. It's specific and strange in the best way—genuine without being precious about its premise.
But Genuinely obscure, which means finding it is its own project. Also, the love story is secondary to the identity story, which some find too contemplative.

The Summer I Turned Pretty2022
A teen's summer of discovery and first love, shot with real visual beauty and performed with genuine affection for its characters. It has lightness and brightness that balances grief with actual joy.
But The love triangle feels recycled, and the show's prettiness can feel like avoidance of harder truths. It's comfort watching, which isn't always earned.

Paper Towns2015
A high school romance unspools into a meditation on loving people as ideas versus loving them as they actually are. It has mystery, yearning, and a willingness to sit with disappointment.
But It doesn't fully trust its own material—the ending feels like a compromise between what the source wanted and what the studio wanted. Some of it lands, some doesn't.

Hunt for the Wilderpeople2016
Both about young people carrying grief they're too young to carry, finding unexpected people who understand loss without needing it explained. Both trust that connection, not resolution, is the point.
A curmudgeonly old man and a teenage foster kid flee into the New Zealand bush. It's a grief story disguised as an adventure, about two people finding family in each other when grief has orphaned them both. Funny, alive, genuinely moving.
But It's whimsical where *The Sky Is Everywhere* is raw. If you want the film's specific emotional register—intense, interior, musical—this trades that for action and landscape and humor. It's earned, but it's different.

People
Cast
Grace KaufmanLennie
Jacques ColimonJoe Fontaine
Cherry JonesFiona
Jason SegelBig
Pico AlexanderToby Shaw
Ji-young YooSarah
Havana Rose LiuBailey
Julia SchlaepferRachel Brazile
Tyler LoftonMarcus
Solomon ShivMr. James
Augie IsaacLuke Jacobus
Destiny EkwuemePreppy Student (uncredited)
Directing
- Josephine DeckerDirector
- Jeremiah KelleherSecond Second Assistant Director
Writing
- Jandy NelsonNovel
- Jandy NelsonScreenplay
Production
- Joe NankinAssociate Producer
- Sabrina ParraAssociate Producer
- Savey CatheyExecutive In Charge Of Production
- Jandy NelsonExecutive Producer
- Joshua BachoveExecutive Producer
- Allison Rose CarterProducer
- Denise Di NoviProducer
- Josephine DeckerProducer
- Margaret French-IsaacProducer