![]() It’s consciously designed to go further and faster than most movies, to challenge the audience as well as the medium. It’s the kind of project that should win Oscars far more often - a technically stunning, ambitious movie that deliberately pushes the envelope of what cinema can do. Just getting Academy attention in the first place makes the Daniels’ film a triumph. But Everything Everywhere is a science fiction fantasy that fully embraces the possibilities of alternate universes, leaping between worlds and challenges viewers to keep up with the pace. The Academy almost never recognizes genre films outside of the technical categories. Gags about dildos and buttplugs, S&M and condiment-squirting hot-dog fingers, all puncture the kind of self-important gravity that usually scores big at the annual ceremony. But nothing else about it fits the usual Oscar model. In one sense, at least, Everything Everywhere is a traditional Oscar movie: It takes its characters through a gauntlet of suffering, then gives them a humanistic, uplifting ending. As the conversation around the movie got bigger and bigger, it started to take on scrappy-underdog overtones, especially by the time it became the first $100 million box-office hit for small arthouse distributor A24.Īnd by the time Oscar nominations rolled around, and the movie showed up in 11 categories, Everything Everywhere was looking like a real rarity in Oscars history: a serious Academy Awards contender that was also a comedy and an action-thriller - and above all, a weird, weird movie. ![]() A story full of Easter eggs and in-jokes aimed directly at cinephiles. A majority Asian cast telling the kind of nuanced, emotional story they so rarely get to tell in American film. Jamie Lee Curtis returning to comedy in a unique role. There were so many reasons to see the film as a collective feel-good experience for cinema fans: Ke Huy Quan’s triumphant return to film Michelle Yeoh landing a leading role worthy of her acting skills, as well as her martial-arts skills. Certainly neither of their projects felt like Academy contenders.īut as word of mouth about the film grew, and it stayed in theaters week after week, the narrative began to change. It played like a bigger and brighter version of the Daniels’ first movie, Swiss Army Man - a movie beloved in certain circles, but too dark, eccentric, and subversive to command a mainstream or widespread audience. ![]() ![]() At best, it seemed like it might become a well-kept cult-movie secret. But a year ago, no one could have watched Daniel Kwan and Daniel Scheinert’s multiverse masterpiece and anticipated this kind of response or recognition - not from the notoriously stodgy Academy.Įverything Everywhere initially felt like a film designed to earn a small, passionate audience. For anyone who watched this year’s ceremony, where the audience went wild every time the film was mentioned, the Best Picture win stopped being a surprise about halfway through the show. Everything Everywhere All At Once is the 2023 Oscars Best Picture winner, and it also netted six other awards, for Best Director, Original Screenplay, Film Editing, Actress, and Supporting Actor and Actress. ![]()
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