George Washington is a 2000 American indpendent drama film written and directed by David Gordon Green. Its story centers on a group of children in a depressed small town in North Carolina who band together to cover up a tragic mistake. The film premiered at the 2000 Berlin International Film Festival and received wide praise from critics. Plot The film follows a group of kids growing up in a depressed rural town in North Carolina, as seen through the eyes of 12-year-old Nasia (Candace Evanofski). After breaking up with her show-off boyfriend Buddy (Curtis Cotton III), she withdraws from her delinquent friends and becomes romantically interested in a strange, introverted boy named George Richardson (Donald Holden) who is burdened by the fact that his skull never hardened after birth. Tragedy strikes when George accidentally kills Buddy, and the group, fearing punishment, decide to hide his body. In its aftermath, George takes up the unlikely role of town hero. Cast Candace Evanofski as Nasia Curtis Cotton III as Buddy Donald Holden as George Richardson Damian Jewan Lee as Vernon Rachael Handy as Sonya Paul Schneider as Rico Rice Eddie Rouse as Damascus Janet Taylor as Aunt Ruth Production George Washington marked David Gordon Green's feature film debut as a screenwriter, film director and film producer. It was also the first feature film role for actor Eddie Rouse. Reception The film has an 84% approval rating on Rotten Tomatoes based on 61 reviews, with an average rating of 7.39/10. The website's critical consensus reads, "Languid and melancholy, George Washington is a carefully observed rumination on adolescence and rural life." Roger Ebert of the Chicago Sun-Times selected it as one of the ten best films of 2000, as did Time and New York Times critic Elvis Mitchell. In Roger Ebert's four star review, he called the cinematography by Tim Orr the best of the year, also writing "it is not about plot, but about memory and regret. It remembers a summer that was not a happy summer, but there will never again be a summer so intensely felt, so alive, so valuable." Jonathan Rosenbaum of the Chicago Reader gave the film a favorable review, writing "You have to bring a lot of yourself to this film if you want it to give something back, but the rewards are considerable." Mick LaSalle of the San Francisco Chronicle called it "a director's baby from the