Everyone from Everywhere

Replete with all the expected glitter and glam, this year ‘s Oscars had an unusually strong global presence. With the wide range of nominations and winners from all over the world, I’d say, we are not only back from Covid, but we are headed in the right direction. Like all art, film is subjective, and no doubt many were disappointed with the results, however, as a famous car commercial once said, “and the Mazda goes ….” (Watch it on YouTube. It’s fun) so perhaps the Oscars will not only survive, but will become more relevant for audiences from everywhere and of all ages.

In the Best Picture category, to have a film from Germany, Sweden, Ireland, the United States, and, a never seen predominantly Asian melange of genres, Everything Everywhere All At Once, was exciting. Add to that, the Best Song going to the high energy Naatu, Naatu, performed with such gusto, from the film RRR in Telegu, from India. As well as The Elephant Whisperers, also from India, winning Best Short film (41 minutes) a deeply touching, must see, beauty. And then, Navalny, about the Russian opposition leader. A courageous and supremely important film, winning Best Documentary…yes, I’d say, this year’s Oscars were about everyone from everywhere.

No matter from where and in what language, in all the acceptance speeches we hear the emotion and vulnerability which made it abundantly clear, that to create good work you have to give it your all.

This goes for us as screenwriters as well.

All the nominations in both Screenplay Award categories were excellent. Women Talking won best Adapted Screenplay but I cannot comment on the award as I have not read the book. Adaptation is a particular process where choices can make or break the film. For Best Original Screenplay, my choice was, The Banshees of Inisherin, a small but perfectly tuned gem. So, for me, that the winner was, Everything Everywhere All At Once, was a surprise. I have to say I hadn’t seen the film at that time but I have since.

So let’s talk about the winner.

For sure we have all had times when life has become one crazy pileup, everything happening all at once, crashing down on our heads, pulling us this way and that, and hey…that’s what Everything Everywhere All At Once, is about, focused through the lens of the immigrant experience. I was stunned by it. It was funny. It was outrageous, stupidly sophomoric at times, it was honest. It was a wild ride. One that challenged me, but in a most endearing way. Because I was touched. I cared what happened to the characters, to the relationships. I felt the intimacy, the dilemmas. I even welled up a couple of times. Technically alone, frame after frame, what an extraordinary feat of film making (though I would have cut 20 minutes) and what a feat in collaboration.

But most importantly, the film breaks the mold of straight forward linear story telling by inviting us to stretch our imaginations and cross boundaries. In fairness, and to reassure you I’m not speaking out of delirium, the film Tar (can’t find accents on this platform) had a sprinkle of such moments. Yes, there has always been a niche for fantasy, for kung fu, and sci-fi, films, but here it was the melange of genres, mixing it all together, to tell a larger underlying resonating human story that was a first. Best of all was through all the craziness and chaos, Everything Everywhere All At Once, maintained a compelling linear thread which was a thrill to watch. The film fulfilled the very premise of the title.

Eastern sensibility has long embraced a non-linear approach to thinking and with this year’s Best Picture going to Everything Everywhere All At Once, doors have opened to embracing those very possibilities.

It’s exciting.

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