Let's Talk About Everything, Everywhere All At Once
A film that everyone cannot stop talking about...
(Note: Spoilers ahead, so if you didn’t watch, this is your last chance to stop reading.)
I cannot wait to tell you how much I loved Everything, Everywhere, All At Once. It was one of the most emotionally and intellectually stimulating things I’ve ever seen in my life. In fact, I don’t even think I was that emotional over The Matrix (which draws comparisons as a similar mind-bending film). It had the hallmarks of everything I could want in a film: compelling plots and character arcs, some philosophical depth, and well-crafted compositions. I think what surprised me the most was how philosophically heavy it was. I truly did not expect them to be reflexive about the concept of the Multiverse and exploring the implications of knowing everything. I also did not expect the villain to originate from the mistakes of the protagonist. And what appeared to be a high-concept science fiction film ended up being about a family melodrama and a tale of grappling with intergenerational trauma. Parents misunderstanding their children was the key emotional thread that carried the film throughout, eventually leading to a very emotionally satisfying embrace between mother and daughter. By the end, I was stunned as to how the film went to the lengths it did when it came to fracturing and repairing relationships.
But the film’s inclination towards love is not just about providing emotional resolution to its relational disputes, but also proposes a compelling alternative to the absurdity, meaningless, and nihilism it presents to us in the film. The film demonstrates the power of loving anyways in the face of absurdity and meaningless. It is a message that is increasingly prevalent as more shows and films (like Rick and Morty or Bojack Horseman, for example) are open about incorporating cynicism and nihilism into their worlds. And boy, are we going to need more compelling alternatives to cynicism in the years to come. With the recent shift in media towards sincerity, I have hope. This film can serve as an example that whenever the void laughs at you, you can laugh back. Let’s look at an example with Christopher Walken, shall we…
But more than the film’s commitment to sincerity, the film also incorporates play and humor within its heavy philosophical matter, whether it be displaying characters with hot dog fingers, a racoon becoming a valuable partner to an inspiring chef (in an obvious yet hilarious ode to Ratatouille), or Evelyn’s third googly eye. The humor was an excellent foil for all of the drama and philosophical inquiry within the film, balancing deeply serious subject matter with whimsical irony. Yet the irony did not take away from the seriousness, but stood along with it as a formidable addition. It’s the sincerity and play that gives the film a wholesome 1-2 punch.
Through its unique blend of action, humor, and sincerity, Everything Everywhere All At Once offers a loving reminder for us to (as poet Dylan Thomas famously wrote,) “not go gentle into that good night, but rage against the dying of the light”. And how do we truly embody that?
By learning how to play and to deeply love anyways...