Among all the statuettes that the Daniels film has won, the one that truly reflected the momentum it gives 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 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.
This Oscars trip to the multiverse has ended with Indiana Jones’ embrace of Tapón four decades after they found themselves on an elephant, now on the stage of the Dolby Theatre. There are millions of ideas bubbling in Everything at once everywhere. Maybe too many, because the movie is long, but they are all brilliant. A film has triumphed in which two stones talk, 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 leave 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.
All the culture that goes with you awaits you here.
subscribe
babelia
The literary novelties analyzed by the best critics in our weekly bulletin
RECEIVE IT
Subscribe to continue reading
Read without limits
#Oscar #opens #TikTok #era