The keys to the victory of ‘Everything at once everywhere’ at the Oscars

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Many refused to believe it. All indicators pointed to victory. Everything at once everywhere, but there have been too many last-minute twists in the past few years to know that the Oscars are hit or miss. Its status as a ‘rare’ film, a cult title for freaks. This is how many tried to sell it until word of mouth showed that it was much more than that. That the Daniels’ film connected on many levels, especially with a young audience that made it a box office phenomenon.

His triumph is the most resounding for a movie since 2008. Seven awards for a surreal comedy, with a big heart inside and a multiverse plot that makes Marvel films remain child’s play. These are the keys to the overwhelming victory of the film by Daniel Kwan and Daniel Schinert.

Some prizes forced to rejuvenate

The Oscars have been in an image and audience crisis for years that worried the Hollywood Academy a lot. They have tried everything to attract a new audience that doesn’t usually care about prizes. They did it without the traditional presenter to lighten the ceremony, and even threatened to deliver an award for the most popular film through a strange vote on Twitter.

The solution was easier than that. You just had to open your eyes. You just had to see that there is another cinema that can reach people, that is fresh, original, risky and that, at the same time, can become a mass phenomenon. Everything at once everywhere met those requirements, and the Academy has not missed the opportunity. When it was seen how the film connected with young audiences and conquered critics, it was clear that the work of the Daniels would be one of the films that would mark the awards season.

The TikTok Generation

Los haters of Everything at once everywhere have charged against its fragmented structure, its frenetic and chopped assembly and its rhythm spiric. However, here lies another of the keys to the success of the film. Its narrative connects and is easily decoded by the TikTok generation, accustomed to quick stimuli, short videos, and jumping from one to another.

Everything at once everywhere It is a title where the new audiovisual narratives have been combined. A film that serves as the perfect hinge for two types of Hollywood and two types of viewers.

The shadow paper of A24

Everything at once everywhere it would not be possible without the existence of A24. It is the fashion studio and the one that discovered the Daniels. The studio has been by their side on the creative duo’s previous two films and has banked on them by giving them creative freedom (and a bigger paycheck) for this madness. A24 has put all the meat on the grill for the film since its arrival in theaters in March of last year and has accompanied it constantly until it culminated in a perfect Oscar campaign.

A24’s brand image is unbeatable. They are the producers and distributors of the most modern cinema of the moment. They are the ones who have opted for the new voices of terror like Ari Aster, and this same year they are the ones who have released The whale y After sun, two other phenomena. A24 comes out of these Oscars as the great winner and removes the thorn from her previous victory, the one they achieved at the 2017 awards when Moonlight it took the Oscar for best film, an award buried by the mistake with the envelopes and a winner that nobody remembers.



Bet on the rooms

The nominations made it clear that this year Hollywood was staunchly defending cinema in theaters. It nominated the two highest-grossing films of the year (Top Gun y Avatar), and in that defense of the big screen came Everything at once everywhere. A24 decided to put up with it and release it in theaters and not on platforms. It has had a traditional window, and that is rewarded. It was the perfect option. A blockbuster (more than 70 million in the United States) without belonging to a franchise. The Academy does not like to award sequels and with the Daniels’ film they sent the message that, now more than ever, the cinematographic experience must be protected. They do so by leaving, once again, Netflix without its long-awaited award for Best Film, which they opted for this year. No news at the front.

Diversity and ‘mea culpa’

Another of the Academy’s problems for years is its lack of diversity. Since those #Oscarsowhite, measures have been taken to make the institution broader and more inclusive and this is reflected in the awards and films that were nominated and awarded. Academics from around the world have multiplied, and that has had positive results. However, in this edition, the absence of black actresses once again put the Oscars in the pillory for its lack of diversity. A diversity that, on the other hand, they had achieved with respect to the Asian community thanks to Everything at once everywhere.

To reward the film and, above all, its actors, is to recognize a whole generation of immigrants who never star in the stories produced by Hollywood. Asian actors and actresses have only been either funny supporting roles or supporting roles in action films. Michelle Yeoh has been slamming in movies for decades, but no one has given her this chance. James Hong, another movie legend, the son of Hong Kong emigrants, made it very clear when he picked up with the cast of Everything at once everywhere The Screen Actors Guild Award: “For years, the leading role was played by these guys with tape over their eyes and who talked like that (he said imitating a fake Chinese accent and tearing his eyes out with his fingers) because the producer said Asians don’t they were good enough and they didn’t do box office. Well, look where we are now.”

Hollywood apologizes to them with this award, gives them a place that they should have had for a long time and also washes its face. The Oscars are specialists in redeeming with awards what they have done wrong for decades, and this edition is a new example of this.

The story and the campaign

The Oscar campaign is critical to winning the award. First, you don’t just have to want to win it, but you also have to prove it. The protagonists of Everything at once everywhere They have even signed up for the opening of an envelope. They have been to all the parties, they have given interviews in all the magazines, and in all of them they have sold how happy they were to be there and to be part of all this madness. His speeches have been emotional, effective, highlighting what it meant to award his film. They have highlighted the elements of diversity, and the empowering and feminist message of the film.

They have known how to sell their message, place it and get people to accept it. They have been a great family fighting for these awards and, in addition, they had the story won. That narrative that Hollywood loves. An award for Ke Huy Quan meant embracing the return of the mythical Capón de Indiana Jones, and Michelle Yeoh’s was the first for an Asian actress. The Academy was aware of the historical moment. It was not by chance that Halle Berry came out with Jessica Chastain to deliver the award for best actress. The only black actress to achieve it was giving it to the only Asian actress. A photo for posterity.

The importance of unions

Many still did not trust the victory of Everything at once everywhere despite previous indicators pointing towards it. As always, the awards from the different Hollywood guilds have proven to be the most reliable of all. Not the Golden Globes, not the BAFTAs. The awards given by producers, directors and actors have been the ones that have led the way. The Daniels’ film won in all of them. Not only that, but the actors’ game was where Michelle Yeoh and Jamie Lee Curtis won for the first time. The movie made history. Never before has a title won four awards. Clear indicators that Hollywood had chosen its winner for months.

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