with “Everything Everywhere All at Once” the American film academy crowns an eccentric popular comedy
After the slap of the 2022 edition, the Oscars ceremony, Sunday March 12, in front of an audience of three thousand people at the Dolby Theater in Hollywood and broadcast on the ABC channel for a few million others, is back in order. Hosted by humorist Jimmy Kimmel, an old veteran of television, the Academy even afforded the luxury of refusing for the second year in a row a speech by Volodymyr Zelensky, the Ukrainian president, that the biggest cinematographic events of the world are honored to grant him. We have as much independence of mind as we can.
Unveiled on January 24, the nominations had designated four favorites this year: Everything Everywhere All at Once, Daniel Kwan and Daniel Scheinert (11 nominations), The Banshees of Inisherin, by Martin McDonagh (9 nominations), In the west, nothing is new, by Edward Berger (9 nominations), and Elvis, by Baz Luhrmann (8 nominations). Two of these titles have, in fact, won the bet, to the detriment of the talents that were expressed in the others. Starting with the ultra-favorite Eveything Everywhere All at Oncewhich stacks seven statuettes, including Best Picture, Best Director, Best Actress (Michelle Yeoh), Best Supporting Actress (Jamie Lee Curtis) and Best Supporting Actor (Ke Huy Quan ).
This blockbuster movie ($107 million in revenue) is a comedy that sends Evelyn Wang, an exhausted boss of a laundry in the grip of a tax audit and mother of a complicated family, into the multiverse in which she finds herself in an absurd frenzy. turns into a heroine repeatedly and ends up getting the better of her problems. The duo at the helm – nicknamed in the United States “The Two Daniels” − is a duo of thirty-somethings who trained on the benches of a film school in Boston and cut their teeth on the production of music videos, before starting in 2016 a film career dominated by a good-natured eccentricity , trailers of film references and other nods to pop culture. Remember that their first feature film (Swiss Army Man, 2016) was nevertheless the story of a shipwrecked man on an island who befriends a petoman corpse on the spot. This acid remake of Robinson Crusoe heralded this farcical Sino-American variation of the Jeanne Dielman by Chantal Akerman.
“In the West nothing new”, by Edward Berger, is the other big winner of the evening with four Oscars
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