Oscars 2023: ‘Everything at once everywhere’ triumphs as an ambassador of new and old Hollywood

Jimmy Kimmel parachuted onto the stage at the Dolby Theater, winking at ‘Top Gun: Maverick’, great savior of the big screen together with ‘Avatar: The sense of water’. This year’s Oscars could afford the celebration. Not just because there were blockbusters among its Best Picture nominees, but because it already seems like the pandemic is a thing of the past.

This was not entirely the case, despite the general festive atmosphere. The crisis committee set up by the organization to avoid the slapstick was to be activated very soon with the positive from Glenn Close, who would also deliver the Best Picture statuette alongside his ‘Air Force One co-star (The President’s Plane ) ‘, Harrison Ford. To the delight of the Academy, that absence ended up giving a precious moment in which Indiana Jones embraced Tapón after the rousing triumph of “All at once everywhere”.

Daniel Kwan and Daniel Scheinert’s film achieved one of the strongest wins in recent years with seven awards, three of which went to its cast. “All at Once Everywhere,” however, has basically split since its premiere. Some were enthralled by Evelyn Wang’s multiverses and how that dizzying journey hid a story of mothers and daughters, families and dreams, and others were horrified by such a crazy and loud proposition.

But this film represents that these are times of change in the industry, times that don’t shut out the past but look to the future. The Daniels have achieved excellence with a film that speaks in a modern language, and at the same time speaks of universal themes such as family, giving starring roles to cinematic monuments such as Michelle Yeoh and Jamie Lee Curtis. If ‘CODA: Los sonidos del silencio’ remained very weak in its Oscar supported by very few accolades, the seven “Everything at once everywhere” Oscars reflect that academics have seen the virtues in many fields.

The speeches by, in fact, Yeoh, Curtis and Ke Huy Quan were one of the best moments of the gala, with speeches in which there was a lot of emotion, great enthusiasm for having won and in which they remembered their families, his team, of women of a certain age who have a lot to tell, and of fans of genre cinema who finally see a fantastic and geeky film crowning the great Hollywood party. The Daniels have also had great moments in their many stage appearances, remembering their public school teachers, conveying important messages about not sapping creativity. and emphatically stating that a drag queen was never a danger to anyone.

It was a spectacular night for a studio as small as A24, who saw his courage rewarded by betting on other types of stories. Not only did they blow ‘Everything at the Same Time Everywhere’, but they won awards in every acting category thanks to a heartwarming Brendan Fraser’s Oscar. They and Netflix (four Oscars for ‘All Quiet’ and one for ‘Pinocchio by Guillermo del Toro’) were the absolute protagonists of the evening.

While the gala won’t be remembered in a few years, it was an improvement over previous years. Jimmy Kimmel was once again the solvent, charismatic and above all acid master of ceremonies. He already made it clear in his opening monologue that he wasn’t going to ignore Will Smith’s slap, and unfortunately fell overboard when he joked about it in a few appearances.. It would have been foolish to ignore what happened, nor was it necessary to turn an embarrassing moment into a ghost constantly flying around the stage. But Kimmel knew how to deliver biting jokes that sounded like the Golden Globes at times.

From the Tollywood party to Lady Gaga’s unplugged

The producers of the event did a great job with a cinema-like staging, “to celebrate films as they should be seen,” as the presenter said at the outset. They also crafted captivating musical performances, highlighting the absolute party that was “Naatu Naatu” from “RRR” (Tollywood should be invited to the Oscars multiple times) and the fantastic almost improvisational performance of Lady Gaga performing “Hold My Hand” from ” Top Pistol’. :Maverick’. Great organization parade that transforms a last minute confirmation into an almost unplugged moment, with the singer giving absolutely everything. What tables do you have to have to conquer a gala like this probably without having tried a single time.

Jimmy Kimmel got rid of having to use the crisis toilet and that Angela Bassett seemed to be ready to fight after losing the Oscar. That would have been an important accolade, especially with her career behind her. But Jamie Lee Curtis is also an icon and she deserved the Oscar not only because she owed her but also because of the huge antagonistic role she was the winner for. Beyond this, the gala was peaceful and won to be able to close with that poster celebrating “an edition of the Oscars without setbacks”. What maybe remained a normal ceremony, pulling forgettable? Decidedly. But at least it didn’t get too heavy and end up hogging the news through attacks or blunders. It’s probable that he didn’t even attract a young audience, but he was able to make a ceremony with taste and a lot of film air.

The organization has once again allowed cinema and nominated films to star with good thematic staging for each category, such as costumes or editors, with powerful montages of each Best Picture nominee and with winks such as the appearance of the donkey Jenny from “The Banshees of Inisherin”. It was a year with very diverse nominations, covering all kinds of stories, stories, audiences. Maybe that’s why the reactions to the triumph of “Everything at once everywhere” are so visceral. There was, no doubt, a winner who would have been unanimous. There is almost never. But this gala leaves the feeling that “All at Once Everywhere” has many reasons to be there, and also has many reasons to be remembered for a long time.