Among all the statuettes that the film from the daniels, the one that really reflected the impulse that Everything at once everywhere to the cinema to enter the 21st century (a door that ajar parasites) It was the one with the best editing, work for which Paul Rogers has been awarded.
Because the thousands of stories that intertwine in the film —which premiered a year and a day ago at the SXSW festival, when no one could even guess this happy ending at the Hollywood Academy Awards— appear superimposed, subordinate, chained, you continue… And each time at a faster rate, at a rate like the one that triumphs on social networks, in TikTok videos, in a different language, completely removed —neither better nor worse, different— from, for example, The Fabelmans, debtor of the 20th century. The Oscars may begin to interest young audiences not by changing the gala (which was boring, bland, gray, like a kind of Band-Aid in the year 1 post-slap), but the movie that wins. And, without their more than 9,000 voters probably realizing it, the victory of Everything at once everywhere is the winning card. For the first time, a superhero movie (and the second science fiction, if we consider in this genre to The shape of the water) has won the main award.
Everything at once everywhere He talks about the multiverse, normalizes new sentimental relationships, clearly explains the emotional conflict of emigrants, who feel as strange in their adopted land as they feel far from their place of origin. It illustrates the estrangement that the modern world produces in veterans, delves into the infinite possibilities of the multiverse with only a 13 million-euro budget. Only a team of nine people worked on its digital effects —two of them, the directors— who had not previously done any similar work. It has grossed $106 million worldwide, a bounty as staggering as its seven statuettes.
Generation Z will also have enjoyed at other times. Like the one in the choreography of the song Naatu Naatu, of RRR, which won the Oscar for its category. An explosive, aggressive and hypnotic dance, which adjusts to tiktoker parameters. RRR (acronyms in various Indian languages for rage, war and blood, and in English and Hindi for uprising, roar and revolt) has introduced the rest of the world to Tollywood cinema, made in Calcutta, in eastern India, which multiplies the spectacularity of Bollywood, created in Bombay, in the west of the country: that is to say, the modern is no longer Bollywood, but Tollywood.
This Oscars journey into the multiverse with Everything at once everywhere has ended Indiana Jones’ embrace of Tapón four decades after they found themselves on an elephant, now on the stage of the Dolby Theatre. Millions of ideas buzz in the heads of the daniels. Maybe too many, and therefore the film is long, but they are all brilliant. A film in which two stones talk has triumphed, in which two women with sausage fingers fall in love and kiss, in which (auguring the future) the evil version of the daughter metamorphoses into an Oscar statuette.
For many critics, Everything at once everywhere leaves behind a cinema like the one in No news at the front either The Fabelmans. The German film won four statuettes; Spielberg’s biographical drama left empty. that step forward parasites in 2020 it became, after the transition of nomad land in 2021, in a double step back from last year with CODE. Now yes, now the voters (and not Hollywood, because we shouldn’t confuse the members of the Academy with the establishment of the industry) throw themselves into the arms of the new language, of a generational and ethnic cocktail in their interpretive team, and give away a moment that makes the cinephages happy: a girl Bond born in Malaysia who has two characters in the Marvel universe and starred in a classic of the wu xia (Chinese sword and magic cinema) as Tiger and dragon She is today the best actress in the world.
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