An absurdist indie that pairs existentialism and everything bagels, released way back in March last year, 'Everything Everywhere' is not just heading for a few wins at the Oscars on March 12. It’s poised to steamroll.
It’s the favorite to win best picture, best director, best actress for Michelle Yeoh, best supporting actor for Ke Huy Quan and potentially best supporting actress for Jamie Lee Curtis. A movie with fanny-pack-styled kung fu about a middle-aged woman filing her taxes is on course to best blockbusters and Spielberg , alike.
The unexpected success — the A24 release has grossed more than $100 million worldwide against a $14.3 million budget — has thrown off the trajectory the Daniels imagined they might be on. In a recent, rare lull between awards ceremonies, they spoke by Zoom from Kwan’s home office. He apologized for the mess, a disorder that reminded him of their film.
When “Everything Everywhere All at Once” landed in theaters, it ignited the specialty film business after two years of pandemic, driving moviegoers back to art houses and becoming A24′s biggest box-office smash. But even then, awards talk was mostly farfetched. It wasn’t until the fall, when it won best film at the Gotham Awards that the buzz started to get real. Affection for the film just kept building. Early naysaying that the film was too strange for older academy voters has proved wrong.
At a time when Hollywood’s main studio product is in franchises, remakes and sequels, “Everything Everywhere All at Once” is also a movie brimming with originality. A vote for “Everything Everywhere All at Once” is a vote for something different.
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