theatres last March 25 (Canada followed a week later). The slow rise to prominence of “Everything Everywhere” has been a marvel to witness in a topsy-turvy Oscars campaign that has seen more traditional Best Picture contenders - among them “The Fabelmans,” “The Banshees of Inisherin,” “All Quiet on the Western Front” and “Top Gun: Maverick” - lose considerable heat for one reason or another.ĭespite the film’s enthusiastic reception in Austin - where the civic motto is “Keep Austin Weird” - “EEAAO” seemed anything but a future Oscar front-runner when it opened commercially in 10 U.S. Even rival director Steven Spielberg, whose family drama “The Fabelmans” has seven nominations, including Best Picture and Best Director, has praised the “amazing genius work” of Daniels, prompting Kwan to tweet “thank you, dearest papa.” You could call “EEAAO” an ecstatic enigma, one embraced not only by critics and audiences but also by a host of pre-Oscars awards (among them the guilds for directors, producers and actors) that indicate a likely awards bounty on Sunday night. It’s particularly sweet for Quan, the Best Supporting Actor winner, a former child actor (“Indiana Jones and the Temple of Doom” and “The Goonies”) who hasn’t been in a movie for 20 years. Michelle Yeoh, Ke Huy Quan and Stephanie Hsu, three of the film’s four Oscar-nominated actors (Jamie Lee Curtis is the fourth) have all spoken of feeling overlooked and undervalued by the industry before this breakthrough. The movie has already boosted the visibility and career prospects of Asian actors in Hollywood. Kwan told Vulture that his own mom, a Chinese immigrant herself, seems baffled by his film’s success: “She was like, ‘I know people like the film, but can you explain why people love it?’”
Members of the tradition-bound and mostly boomer-aged Academy of Motion Picture Arts and Sciences showered gold upon a film many of them admit they don’t understand - and they’re not alone. This almost indescribable comic sci-fi adventure of Asian-American laundromat owners who “verse-jump” between multiple dimensions to fight bizarre existential threats, including mind-controlling raccoons and a soul-sucking giant bagel, has also shaken up notions of what constitutes a Best Picture winner.
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