Oscars Analysis: How ‘Everything Everywhere All at Once’ Became the Poster Child for the New Academy
13.03.2023 - 07:41
/ thewrap.com
win Best Picture still seemed crazy. After all, nobody had seen any of the fall festival movies that often dominate the awards lineup.
Still to come were Todd Field’s “Tár,” Martin McDonagh’s ”The Banshees of Inisherin,” Sarah Polley’s “Women Talking,” Alejandro G. Inarritu’s “Bardo, False Chronicle of a Handful of Truths,” Noah Baumbach’s “White Noise,” Sam Mendes’ “Empire of Light,” Rian Johnson’s “Glass Onion: A Knives Out Mystery,” Darren Aronofsky’s “The Whale,” Damien Chazelle’s “Babylon,” Gina Prince-Bythewood’s “The Woman King,” Maria Schrader’s “She Said,” Florian Zeller’s “The Son,” Ryan Coogler’s “Black Panther: Wakanda Forever,” James Cameron’s “Avatar: The Way of Water” and, maybe above all, Steven Spielberg’s “The Fabelmans.”Given that lineup of 15 potential heavy hitters, plus the fact that “Top Gun” and “Elvis” seemed likelier nominees than “Everything Everywhere,” the crazy little movie remained a longshot.
But about half of those movies didn’t get much awards traction when they came out, and “Everything” never dropped out of the conversation. A24 was more frugal in its spending than many of its competitors, and it didn’t win critics’ awards the way “Tár” did — but when the first big indie-film awards show, the Gotham Awards, took place in late November, it beat “Tár” and gave Ke Huy Quan the first of the many trips to an awards podium he’d be making.Meanwhile, nothing else really caught on.
“The Fabelmans” had a stretch as the presumed frontrunner, but Spielberg had been in that position with “Saving Private Ryan” and “Lincoln,” and he knew as much as anyone how precarious a perch it was. “The Fabelmans” and “The Banshees of Inisherin” won at the Golden Globes, but five days later “Everything
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