I remember thinking, “I cannot believe a movie this weird is the Oscar front-runner,” somewhere during the Best Original Song performance of “This Is a Life” — I believe it was when Best Supporting Actress nominee Stephanie Hsu made bagel shapes with her arms and David Byrne revealed his hot-dog fingers.
Recognize it. Everything Everywhere All at Once had virtually won everything by the time the lights came up on the 95th Academy Awards: Best Supporting Actor, Best Supporting Actress, Best Original Screenplay, Best Editing, Best Director, Best Actress, and, as if there had been any suspense left after all that, Best Picture.
That marks the breaking of two different Oscar records: the most awards a Best Picture winner has ever received in the above-the-line categories and the most awards a Best Picture winner has ever received since the category was extended in 2009. (The movie also shared the distinction of being the only one to win three acting awards with A Streetcar Named Desire and Network.) Together with the ceremony’s charmingly nostalgic vibe, it was the kind of traditional Oscars sweep I didn’t think we’d see again.
In a way, everyone assumed that this timeline would be where we ended up. As EEAAO won all four of Hollywood’s most significant precursor awards—the DGA, the PGA, the SAG, and the WGA—it was predicted to be an Oscar juggernaut. Early in the presentation, it became obvious that every single utterance of the movie’s title would be met with boisterous acclaim, dispelling any concerns that the Academy might follow suit.
About 35 minutes had passed by the time Jamie Lee Curtis won the Oscar that had eluded both of her parents. The rest of the evening was spent in coronations. Nonetheless, to list all the reasons Everything Everywhere wasn’t an early front-runner for the Academy Award, you would need an almost endless number of hands. Yes, the dildos.
But there was also the cast, which, with the exception of Curtis, was nearly completely composed of unknown or underrated Asian or Asian American actors. the multiverse’s IRS office rather than Regency England or a World War I battlefield. The directors were a veteran duo of music videos whose primary themes were magic erections and anal fixations.
May you also like to read the recent entertainment articles posted by us:
The film’s release took place in March, the same weekend as the Oscars. This film’s release date ended up being the earliest for the Best Picture winner since Silence of the Lambs. The storyline is a flurry of references to works by Wong Kar-wai, Stephen Chow, Jackass, The Matrix, and other high- and low-brow filmmakers. This was not the Fabelmans.
Why did Everything Everywhere succeed while everything was fighting against it? The Academy’s surge of new members, the younger and more adventurous voters that gave Moonlight and Parasite their victories, will undoubtedly be credited with this triumph. That’s accurate, in my opinion; this is not a movie that, by any standard, would have been eligible for Best Picture a decade ago.
You don’t want to be The Fabelmans at this moment in the history of the awards season, but EEAAO also triumphed in part for that reason. Everything Has benefited all season long from the perception that it was playing with house money since the Oscars race is, after all, an expectation game.
Go for the below embedded tweet for more information:
— ☁️ (@readycloud_) March 13, 2023
We’ve spent the last two months discussing what “grassroots” campaigns actually entail, thanks to To Leslie. Which type of support—that gained through being screened at the most prominent film festivals, or that gained from well-known actors CCing each other on email chains—is more genuine? Whatever your response, I don’t think there’s any denying that Everything Everywhere, a modest film out into the world with minimal expectations of Oscar gold, became a player based on pure fan passion, and would be the one to benefit from any organic awards buzz if there is such a thing.
The movie broke A24’s box office record and inspired a devoted cult following that repeatedly watched it, making it a rare beacon of light during a gloomy spring for theatrical moviegoing. For those individuals, there is absolutely no doubt at all: Everything Everywhere won because it was the year’s top film. They frequently even use words like “decade” or “century.” They are a fervent group.
Of all, you usually can’t win an Oscar with all the five-star Letterbox reviews in the world; otherwise, The Godfather would win every year.
A24 launched a relentless publicity campaign to reintroduce EEAAO as an awards candidate in the fall, establishing the movie as more than just an outrageous live-action cartoon but also as one that moved viewers. Michelle Yeoh was important in this. A studio executive asked The New Yorker, “How do you get through that early time with all the new flashy objects? “
You begin with Michelle because she is the subject of the film. The mood was set by a widely shared GQ video from the spring in which the actress sobbed as she recalled how long it had taken her to get a job this excellent. Speaking with such grace that you forgot about the butt plugs in September, Yeoh joined Brendan Fraser in being honored at the Toronto International Film Festival’s awards dinner.