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    The Daniels Win Best Director for ‘Everything, Everywhere All At Once’

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    Daniel Kwan and Daniel Scheinert won the best director Oscar for their poignant, warmhearted multiverse mash-up, “Everything Everywhere All at Once,” on Sunday night, making them the rare set of paired directors to win the big prize.Academy officials said they were just the fifth set of director duos to be nominated. Robert Wise and Jerome Robbins won for “West Side Story” (1961) and the Coen brothers won for “No Country for Old Men” (2007), though they later lost for “True Grit” (2010). Warren Beatty and Buck Henry also received a nod but not a statuette, for the 1978 comedy “Heaven Can Wait.”“Everything Everywhere All at Once,” which premiered last April, was a hit with audiences and critics alike. Although the Daniels gleefully incorporate hot-dog fingers and everything bagels into their head-spinning, world-jumping movie, which they also wrote, the film is, at its core, about family and its many complications. It stars Michelle Yeoh as a laundromat owner at odds with everyone from the I.R.S. to her loving husband and rebellious daughter.The Daniels, as they are collectively known, came into the night as heavy favorites. Sunday’s win adds another honor to an impressive awards-season run for the Daniels, who also took top prizes at the Directors Guild Awards and the Critics Choice Awards.Both of the Daniels used their stage time to thank their parents.“Thank you for not squashing my creativity when I was making really disturbing horror films or really perverted comedy films or dressing in drag as a kid, which is a threat to nobody,” Scheinert said.“We are all products of our context. We are all descendants of something and someone. And I want to acknowledge my context,” Kwan added. “My immigrant parents, my father who fell in love with movies because he needed to escape the world and thus passed that love of movies onto me. My mother, who was a creative soul, who wanted to be a dancer, an actor and singer, but could not afford the luxury of that life path, and then gave it to me. My incredible brothers and sisters, who helped me survive the chaos of childhood.” More

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      Daniel Kwan and Daniel Scheinert Win DGA Award for ‘Everything Everywhere All at Once’

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      The duo triumphed for “Everything Everywhere All at Once.” The guild’s winner has won the best director Academy Award 17 of the last 20 times.BEVERLY HILLS, Calif. — The Directors Guild of America gave its top prize for feature-film directing on Saturday night to Daniel Scheinert and Daniel Kwan for their sci-fi hit, “Everything Everywhere All at Once,” starring Michelle Yeoh as the unlikely savior of an embattled multiverse. It is only the third time in DGA history that a duo has won the best-director prize, after Robert Wise and Jerome Robbins (“West Side Story” from 1961) and Joel and Ethan Coen (the 2007 “No Country for Old Men”).“What the hell?” a gobsmacked Kwan said while accepting their prize at the ceremony, held at the Beverly Hilton in Beverly Hills.Scheinert, who said months ago that he had never expected their unusual film to become a major awards contender, was similarly stunned. “This is crazy!” he said.“Everything Everywhere” is the second film co-directed by Scheinert and Kwan, who began their career in music videos before making the leap to the big screen with their 2016 film “Swiss Army Man,” starring Daniel Radcliffe as a flatulent corpse.Their point of view is far quirkier than what the Directors Guild tends to go for, but earlier in the night, Kwan said he had been taught to think that being a director was more like being a party host than a general, and thanked his crew “for bringing their best selves to our ridiculous, absurd, beautiful, personal party.”Scheinert and Kwan triumphed over stiff competition, including Steven Spielberg (“The Fabelmans”), who is the most honored filmmaker in DGA history, with 13 nominations and three wins. The other nominees were Todd Field (“Tár”), Martin McDonagh (“The Banshees of Inisherin”) and Joseph Kosinski (“Top Gun: Maverick”).Next month’s best-director race at the Oscars will present another competitive matchup, with the same men nominated except for Kosinski, who was replaced by “Triangle of Sadness” helmer Ruben Ostlund. Still, Scheinert and Kwan can now be presumed to have the edge in that race, since the DGA winner has won the best director Oscar 17 of the last 20 times.Though no women were nominated in the feature-directing race, the DGA award for documentary filmmaking went to Sara Dosa for “Fire of Love,” about volcano-obsessed scientists. And the DGA prize for the best first-time filmmaker went to Charlotte Wells for the father-daughter drama “Aftersun,” which received an Oscar nomination for lead actor Paul Mescal. Since “The Lost Daughter” director Maggie Gyllenhaal won the same DGA trophy last season, this is the first time the first-timers’ award has gone to female filmmakers in back-to-back years.Here are the top winners. For the complete list, go to dga.org:Feature: Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”First-Time Feature: Charlotte Wells, “Aftersun”Documentary: Sara Dosa, “Fire of Love”Television Movies and Limited Series: Helen Shaver, “Station Eleven” (“Who’s There”)Dramatic Series: Sam Levinson, “Euphoria” (“Stand Still Like the Hummingbird”)Comedy Series: Bill Hader, “Barry” (“710N”) More

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      ‘All Quiet on the Western Front’ Leads BAFTA Nominees

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      The German-language movie received 14 nods and will compete for best film against the likes of “Everything Everywhere All at Once” and “The Banshees of Inisherin.”“All Quiet on the Western Front,” a German-language movie set on the battlefields of World War I, emerged on Thursday as the surprise front-runner for this year’s British Academy Film Awards, Britain’s equivalent of the Oscars.“All Quiet,” a Netflix-backed movie about the futility of war, secured 14 nominations for the awards, commonly known as the BAFTAs. Those included best film, where it is up against four higher-profile titles including “Everything Everywhere All at Once,” a sci-fi adventure starring Michelle Yeoh as a laundromat owner who traverses universes; and “The Banshees of Inisherin,” Martin McDonagh’s dark comedy about two friends who fall out while living on a small island, both of which received a total of 10 nominations.Also competing for the main BAFTA prize is Baz Luhrmann’s “Elvis” biopic and “Tár,” Todd Field’s drama starring Cate Blanchett as a conductor accused of sexual harassment.On its release in Britain, critics gave the Edward Berger-directed “All Quiet” rave reviews. Kevin Maher, writing in The Times of London, said that the movie was “more visceral, more spectacular and certainly more harrowing” than any previous adaptation of Erich Maria Remarque’s 1929 novel of the same title. “See it on the biggest screen possible. Then watch it again on Netflix,” Mr. Maher added.American critics were less effusive. Ben Kenigsberg, reviewing the movie for The New York Times, said that it “aims to pummel you with ceaseless brutality, and it’s hard not to be rattled by that.”Steven Spielberg Gets Personal in ‘The Fabelmans’The director’s latest movie, starring Michelle Williams, focuses on Sammy Fabelman, a budding filmmaker who is a lot like Spielberg himself.Review: “The Fabelmans” is “wonderful in both large and small ways, even if Spielberg can’t help but soften the rougher, potentially lacerating edges,” our critic writes.Michelle Williams: With her portrayal of Mitzi, Sammy’s mother, the actress moves from minor-key naturalism to more stylized performances.Judd Hirsch: The actor has been singled out for his rousing performance in the film. It’s the latest chapter in a career full of anecdotes.Making ‘The Fabelmans’: In working on this semi-autobiographical movie, Spielberg confronted painful family secrets and what it means to be Jewish in America today.The 14 nods for “All Quiet” is the highest number of BAFTA nominations for a movie not in the English language, tied with Ang Lee’s 2000 action film “Crouching Tiger, Hidden Dragon,” according to BAFTA officials.Michelle Yeoh, left, and Jing Li in “Everything Everywhere All at Once,” directed by Dan Kwan and Daniel Scheinert.Allyson Riggs/A24Most of the nominations for “All Quiet” are in technical categories. But Berger also secured a best director nomination. He will compete for that award against the directors of “Banshees of Inisherin” (McDonagh), “Tár”(Field) and “Everything Everywhere All At Once” (Dan Kwan and Daniel Scheinert). Park Chan-wook, the director of “Decision to Leave,” about a policeman who falls in love with a suspect, also secured a best director nod, as did Gina Prince-Bythewood for “The Woman King,” about the women soldiers of the precolonial Kingdom of Dahomey in West Africa. Prince-Bythewood is the only female director among the nominees.There was one upset among the best director nominees: Steven Spielberg didn’t get a nod for “The Fabelmans,” his semi-autobiographical tale of a budding filmmaker coping with a fractious home life, which won him best director at last week’s Golden Globes.The BAFTA nominations, which were announced in a YouTube broadcast, have long been seen as a bellwether for the Oscars because there is overlap between their voting bodies. Nominations for this year’s Academy Awards are scheduled to be unveiled on Tuesday and “All Quiet on the Western Front” has been tipped as a potential nominee in the best picture category.In recent years, the BAFTA organizers has made efforts to widen the diversity of nominees, including requiring voters to watch a variety of movies before they can make their selections.Last year, that led to several unexpected nominees in the best acting categories, many from low-budget British movies. But there are fewer upsets this year. The best actress nominees include Blanchett for “Tár,” Viola Davis for “The Woman King,” Yeoh for “Everything Everywhere All at Once” and Emma Thompson for her role in “Good Luck to You, Leo Grande,” in which she plays a widow who hires a prostitute.They will compete for that prize against Danielle Deadwyler for her role as Emmett Till’s mother in “Till” and Ana de Armas for “Blonde,” in which she plays Marilyn Monroe.The best actor category sees Austin Butler, the Golden Globe-winning star of “Elvis,” up against Colin Farrell, for his role in “The Banshees of Inisherin,” and Brendan Fraser, for his transformation into an obese, grief-stricken writing instructor in “The Whale.” Also nominated are the rising Irish star Paul Mescal, for his role as a young father taking his daughter on holiday in “Aftersun,” Daryl McCormack, for playing the prostitute in “Good Luck to You, Leo Grande,” and Bill Nighy, for “Living,” about a bureaucrat given a life-changing medical diagnosis.Whether the nominations for “All Quiet” translate into trophies will be revealed on Feb. 19, when the BAFTA winners are scheduled to be announced in a ceremony at the Royal Festival Hall in London. 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      At the Movies, Bagels, Onions and a Side Dish of Nothing

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      Both “Everything Everywhere All at Once” and the “Knives Out” sequel delve into the abyss, where life has no meaning. What they do next is surprising.“I got bored one day and I put everything on a bagel. Everything — all my hopes and dreams, my old report cards, every breed of dog, every last personal ad on Craigslist, sesame, poppy seed, salt,” Jobu Tupaki (Stephanie Hsu) says in the faultless, head-spinning science fiction film “Everything Everywhere All at Once.”She’s explaining this to Evelyn (Michelle Yeoh), a laundromat owner who has strained relationships with both her goofy though pure-hearted husband, Waymond (Ke Huy Quan), and her daughter, Joy, who, in an alternate universe, is also Jobu Tupaki, a goddess of destruction. Jobu Tupaki tells her the everything bagel eventually collapsed in on itself and became the ultimate truth: “Nothing matters.”Two of the most memorable objects in film last year were conceptual foodstuffs: In “Everything Everywhere,” the bagel is an entryway to the abyss, and in “Glass Onion: A Knives Out Mystery,” the titular vegetable offers layers and layers of intrigue that ultimately amount to nothing. In both films, the nihilistic foods threaten to leave the plot at a dead end. And yet both films then use that impasse to subvert the expectations of the genres in which they’re working.Though the multiverse has, in recent years, become the default direction for moneymaking franchises to go in, the concept is difficult to successfully execute. Opening up a fictional world to alternate universes means keeping a tight leash on the narrative and the world-building, making sure that neither gets bloated to the point where there are endless loopholes as well as inconsistencies and unresolved questions.But there’s also the issue of emotional stakes. If every plot point and character can be reset in another universe, then every moment of resonance, particularly tragedies — think of Rick and Morty rendered lifeless, mangled and bloodied in a garage explosion, or the Scarlet Witch’s vicious murders of Charles Xavier and the superhero illuminati — can be undone with the help of a portal gun, Time Variance Authority TemPad or other time-manipulating device.Peeling Back the Layers of ‘Glass Onion’Daniel Craig returns as the world’s greatest detective, facing down a blue-chip cast of possible murderers in the “Knives Out” sequel.Review: The film “revives the antic, puzzle-crazy spirit of the first ‘Knives Out,’” our critic writes. “This time the satirical stakes have been raised.”A No-Spoilers Guide: Here’s what you need to know about the director Rian Johnson’s new whodunit, without spoiling anything. We promise.A Cinematic Experiment: The movie was distributed in 600 theaters for just one week to stoke interest in the streaming debut on Netflix on Dec. 23.Dusting Off Agatha Christie: The first “Knives Out” was “essentially an energetic, showy take” on the famous mystery writer’s works, we said in our 2019 review.Once you can see every universe, suddenly none of them seem to matter. The multiverse inevitably leads to madness: Though an alternate Waymond cautions Evelyn against making too many universe jumps, for fear that she’ll become like Jobu Tupaki, she does so anyway, and is almost seduced by her alternate-daughter’s nihilism. But the film, written and directed by Daniel Kwan and Daniel Scheinert, cleverly uses the everything bagel, a symbol of the nothingness at the heart of Jobu Tupaki’s philosophy as well as the nothingness at the heart of so many multiverse stories, to ground the story and show what a well-executed multiverse movie can achieve.When Evelyn learns about her other selves, and their relationships and very different lives, instead of everything seeming inconsequential, she is able to make new connections with those around her and understand the limitless potential she didn’t know she had. After witnessing visions of life without Waymond and discovering that another version of herself pushed Joy so hard that she became Jobu Tupaki, Evelyn earns a new gratitude for her family.Meaning and purpose are the antitheses to the nothingness of the everything bagel. And established characters and stakes are the antitheses to the lazy multiverse narrative.Just as multiverse superhero shows and movies get a bad rap, so do murder mystery films. Like a game of “Clue,” they can be formulaic, with even their twists becoming accepted tropes — often as transparent as, say, a glass onion.Edward Norton, left, and Daniel Craig inside the glass onion of the title.NetflixIn Rian Johnson’s “Knives Out” sequel, Detective Benoit Blanc (Daniel Craig) is back with his foppish threads and Southern drawl to join the billionaire Miles Bron (Edward Norton) for a murder mystery weekend on a private island, where an actual murder soon takes place.Bron, an obnoxious hybrid of Elon Musk, Steve Jobs and Elizabeth Holmes, welcomes his guests into a flashy world of wealth, where he casually shows off Paul McCartney’s guitar and the Mona Lisa, has a robot carry off their luggage and even seemingly has his own Covid-19 vaccine (the film takes place early in the pandemic).The film, like the original, uses many clichés of the genre: a clandestine invitation, a group of people stuck in a remote location, an eccentric “genius,” priceless treasures, a suspicious character from the past, a secret twin, a faked death. But the fun of “Glass Onion” is that it takes these tropes to build what appears to be an elaborate murder scheme, only to reveal that the crime was much more straightforward than it seemed.“I keep returning in my mind to the glass onion,” Blanc says in the final act, “something that seems densely layered, mysterious and inscrutable. But in fact, the center is in plain sight.” Bron, he reveals, is the murderer, but he’s no criminal mastermind; he’s stupid, and, to Blanc’s disgust, even unoriginal when it comes to plotting his friends’ deaths.According to the murder mystery formula, when the detective solves the case, it’s over; our contract with this fictional world ends when we get the bad guy. “Glass Onion” also subverts that expectation through its structure: At exactly halfway through the movie, Blanc has figured it out, but before he explains everything, “Glass Onion” cuts to the past. Once Blanc’s real reason for joining Bron’s get-together is clear, the film moves through the plot again to show us the same characters and events from a new perspective.But the movie’s greatest subversion is its ending. The villain isn’t defeated by traditional means; though Blanc solves the case, Bron disposes of the single bit of evidence that could put him away, rendering Blanc powerless to do anything. So Bron wins — until his glass onion and the priceless artwork inside go up in flames. At the last minute, “Glass Onion” pivots from an enjoyable but hollow murder mystery into a contemporary morality tale about the dangers of capitalist ambitions.The boundless emptiness of the everything bagel and the crystal-clear nothing at the center of the glass onion illustrate the ultimate fakeouts: They threaten to swallow their worlds (or universes) in a kind of cinematic existentialism, where a deli favorite and a vegetable prove there’s nothing worth accounting for in a multiverse or a mystery island. But both “Everything Everywhere All at Once” and “Glass Onion” know how to navigate their genres and show that behind the emptiness of your favorite conceptual foodstuff can be surprises, universes — everything. More

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      ‘Everything Everywhere All at Once’ Barrels Into Awards Season

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      At a screening filled with Oscar voters, Michelle Yeoh, Ke Huy Quan and the directors marveled at the way their quirky film has struck a chord.LOS ANGELES — You make a movie because you hope people will respond to it, but no one involved with “Everything Everywhere All at Once” expected all of this, the cast and crew kept telling me in the reception area of a luxe Westwood theater on Tuesday night. The “this” in question was a tastemaker party with Oscar voters and industry veterans meant to reposition the indie hit as an awards contender. But the bigger “this,” the one that really boggled them, was the fact that they were embarking on a monthslong awards campaign to begin with.“We did press all through the summer, and then took a break and thought, ‘This will all die down. The feelings will die down, the excitement will die down,’” said Daniel Kwan, who co-directed the film with Daniel Scheinert. “And then we came back and somehow it’s gotten even stronger. At one of the screenings, someone came up to me and said, ‘This is my 14th time watching the movie!’”Passion counts for a lot during awards season, and “Everything Everywhere” has plenty of it: This sci-fi comedy about a Chinese immigrant and laundromat owner (Michelle Yeoh) who becomes the multiverse’s last hope earned stellar reviews in its March release, played for several months in theaters, and made more than $100 million worldwide on a $14.3 million budget. In doing so, it became A24’s highest-grossing title and reinvigorated a specialty-film market that has been ailing since the pandemic began.When the film was released and an awards campaign was suggested, Scheinert said, “I full-on thought it was a joke.”Sinna Nasseri for The New York TimesFrom right, Yeoh, Kwan and Quan. The director said one fan had told him about seeing the movie 14 times.Sinna Nasseri for The New York TimesThough I expect the film will be nominated in several categories at the Oscars, including best picture, it hasn’t taken a traditional path toward that goal. Instead of debuting at a prestigious fall film festival, “Everything Everywhere” chose a raucous spring premiere at South by Southwest, and it was released in theaters on March 25, a time when awards attention was trained exclusively on the Oscar ceremony held that weekend.The film will also have to win over older voters, who may prove more resistant to its wacky charms, since “Everything Everywhere” is laden with sight gags and traffics heavily in down-market genres like sci-fi, action and gross-out comedy. Could it surmount all of those hurdles and become the first significant Oscar contender to feature a dildo fight scene? (If “Frost/Nixon” happened to have one, please write in to remind me.)“I full-on thought it was a joke when this was coming out and they said, ‘What if it’s awards-y?’” Scheinert said. “It was an ode to ‘Jackass’ and Stephen Chow movies!”Still, there is a potent emotional core to the film that has moved audiences: As Yeoh’s Evelyn explores the multiverse, she comes to better understand the people who used to get on her nerves, including her husband, Waymond (Ke Huy Quan), daughter, Joy (Stephanie Hsu), and even her tax auditor, Deirdre (Jamie Lee Curtis). And that empathy extends off the screen, to the movie’s stars: Quan, the first actor to show up at the party, was mobbed by well-wishers eager to praise his sensitive performance. “I was so famished for a role like this,” the 51-year-old Quan told me. “Famished!”After breakout child-star parts in the 1980s as Short Round in “Indiana Jones and the Temple of Doom” and Data in “The Goonies,” Quan’s good fortune quickly evaporated. “I was faced with a horrible reality and I had to step away because the phone stopped ringing,” he said. “Hollywood didn’t write roles for Asian actors.”In 2000, a disillusioned Quan moved behind the camera to work in stunt choreography, though he continued to pay his Screen Actors Guild dues every month without question: “Maybe subconsciously, I was thinking, just be patient.”“How often does a man in his 50s get a chance like this?” Quan asked.Sinna Nasseri for The New York TimesAfter watching “Crazy Rich Asians” in 2018, he was inspired to return to acting and called an agent friend to represent him; two weeks later, that agent sent him “Everything Everywhere,” which let him play a character who was underestimated, sweet-natured, fierce and romantic all at once.“To have this as my comeback movie and to get this recognition and warm embrace? I’ve cried so much in the last six months from reading the comments or from people coming up to me,” Quan said.Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown.Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy.The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves.A Lovelorn Romantic: A child star in the 1980s, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blending action and drama.The Costume Designer: Shirley Kurata, who defined the look of the movie, has a signature style that mixes vintage, high-end designers and an intense color wheel.Aiming for the Oscars: At a screening meant to reposition the indie hit as an awards contender, actors and directors marveled at the way their quirky film has struck a chord.The most meaningful interaction came in September at Disney’s starry D23 convention, where Quan went to promote his role in the coming season of the Marvel series “Loki.” Harrison Ford was there touting the fifth “Indiana Jones” film, due next year, and though Quan worried his old co-star wouldn’t recognize him, the actor turned, pointed and said, “Are you Short Round?”“Yes, Indy,” Quan replied. And as they embraced, memories came flooding back from the beginning of Quan’s career, which has now regained its initial promise.“How often does a man in his 50s get a chance like this? How often do actors get a second act?” Quan asked. “I really hope that if people are reading my story, it gives them hope, it gives them courage to give voice to that dream they once had. It’s so difficult to be an actor in this business, and I want those people who are doubting themselves or have dreams fading away because they think it’s not going to happen …”Quan grew too emotional to finish his thought and swallowed, collecting himself. “Anyway,” he said.Recent awards-season events for the film have often ended in tears, according to Scheinert: “In a weird way, we’re finally getting to debrief with our cast and crew about what this really meant to us.” It all began with a viral GQ video when Yeoh cried as she discussed reading the “Everything Everywhere” script, which asked her to play so many more modes than she was used to. “To be funny, to be real, to be sad — finally, somebody understood that I could do those things,” she said in the clip.That touched her directors and also took them by surprise, since on set Yeoh was more likely to affectionately razz them than to confess her innermost feelings. “Some of the stuff she said in interviews, she had never said to us,” Kwan said. “Michelle’s a very guarded woman, and she has to be.”The costume designer Shirley Kurata was among the crew members at the screening.Sinna Nasseri for The New York TimesOne academy voter paid tribute to the film’s hot dog fingers.Sinna Nasseri for The New York TimesRight on cue, Yeoh finally arrived, a vision in yellow Gucci. “I’m the canary, nice to meet you,” she said, shaking my hand. The very busy actress, who will soon be seen in “Avatar: The Way of Water” and the Disney+ series “American Born Chinese,” had hotfooted it to the party from the nearby premiere of “The School for Good and Evil,” a Netflix fantasy film where she plays one of the teachers at an enchanted boarding school. That red carpet had been packed with ingénues and TikTok stars, and Yeoh was surprised when a young girl recognized her and passed her an appreciative note.“I thought, ‘I’m out of my league here, nobody’s going to know who you are,’” Yeoh said.“Michelle, you are huge,” Kwan replied. He recalled a San Francisco screening of “Everything Everywhere” where the heavily Asian crowd, which had revered Yeoh since her start in Hong Kong action movies, cheered so loudly that the actress was afraid to go onstage, lest she become too emotional in public.“For a long time, they would say, ‘You have to tell everybody about your experiences,’ and I couldn’t, because it would overwhelm me,” Yeoh said, turning to Kwan and Scheinert. “And the one time I listened to you — the one time — I did an interview and I was blubbering! Oh, I was so embarrassed.”Was she referring to that GQ clip? “Yes,” said a mortified Yeoh, burying her face in Kwan’s shoulder. “See, everyone knows!”Yeoh told me the reason she has trouble articulating what “Everything Everywhere” means to her “is because when you really talk about it, suddenly it comes crashing in that you have waited for so many years for something like this. And as the years go by, you see it slipping away from your fingers, and you can’t get it back because you are aging. But even though I’m 60, I can still do a lot! Don’t put me in a box.”Yeoh seen through a chandelier at the theater. She said she had a hard time talking about the film’s success because each time she is reminded that she “waited for so many years for something like this.”Sinna Nasseri for The New York TimesRecent supporting roles in “Shang-Chi and the Legend of the Ten Rings” and “Crazy Rich Asians” were meaningful, Yeoh said, but on “Everything Everywhere,” being listed first on the call sheet gave her a sense of ownership she’d never really felt before. She hopes that Hollywood will continue to consider her for lead roles, though she’s well-aware of whom those parts are traditionally written for.“I read scripts and it’s the guy who goes off on some big adventure — and he’s going off with my daughter!” she said. “I’m like, no, no.”Yeoh excused herself to greet Roger Spottiswoode, who directed “Tomorrow Never Dies,” the 1997 James Bond film that help introduced her to American audiences; meanwhile, the “Star Trek Into Darkness” screenwriter Roberto Orci greeted Quan with a deferential bow. Later, as the cast and directors gathered in a theater to introduce the film — alongside a huge cohort that included its fight choreographers, composers, visual effects artists and costumers — a man from the audience yelled, “You rock!”This sort of unalloyed success is a new sensation for Kwan and Scheinert, who recently signed a lucrative five-year pact with Universal but got their start making odder fare like face-melting music videos and a debut feature, “Swiss Army Man” (2016), that involved Paul Dano riding a dead Daniel Radcliffe like a jet ski powered by flatulence. How does it feel when their avowedly left-of-center sensibility happens to score a cultural bull’s-eye?“It’s unsettling,” Scheinert said.“It makes us feel like we messed up somewhere,” Kwan joked. “The whole world likes it? What did we do wrong?” More

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      Where Did Those Hot Dog Fingers Come From? Daniels Explain

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      The directors of “Everything Everywhere All at Once” have found the reaction to their film “humbling and inspiring and confusing.”When “Everything Everywhere All at Once” opened in March in a handful of theaters, its creators, the directors Daniel Kwan and Daniel Scheinert, weren’t sure what to expect. The film had stars — “I thought we could bill it as ‘Michelle Yeoh fights Jamie Lee Curtis,’” Scheinert said — but was otherwise tough to pigeonhole. It was a multiverse picture, sure, but instead of superheroes and spaceships, there were fights with fanny packs, cinematic shout-outs to Wong Kar-wai and Stanley Kubrick, and a singing raccoon. And then there was the pandemic, and who knew what that might do to box office numbers? “I went in with very low expectations, because there were a lot of unknowns,” Kwan said.Instead, the movie became one of the sleeper hits of the summer, expanding from 10 screens in three American cities to 2,200 theaters worldwide, becoming A24’s highest-grossing release in the process. Strong reviews helped: On Rotten Tomatoes, the film was rated 95 percent fresh, while The Times called it “an exuberant swirl of genre anarchy” and praised its “sincere and generous heart.” The film also benefited from exuberant word of mouth, which included viewers posting photos and videos of themselves on social media having a good cry or three. “It’s been very humbling and inspiring and confusing,” Scheinert said.In the film, Yeoh stars as a laundromat owner who must call upon various alter egos in parallel worlds to battle a mysterious power out to destroy the multiverse. On a recent morning, Kwan and Scheinert, known professionally as Daniels, spoke — via video call from their separate homes in Los Angeles — about the film’s slow-burn, still-burning success; how Yeoh and Curtis ended up with wieners for fingers; and why, with a movie about infinite possibilities, they wouldn’t change a thing.The film had a pretty small first weekend release. What was it like watching audiences discover the film?DANIEL SCHEINERT I’m grateful that it’s been slow, because I think it allowed us to process how people were reacting. At those early screenings, people would stay after to talk with us, and a good number of them would cry while talking about it.Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown.Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy.The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves.A Lovelorn Romantic: A child star in the 1980s, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blending action and drama.The Costume Designer: Shirley Kurata, whose work defined the look of the movie, has a signature style that mixes vintage, high-end designers and an intense color wheel.DANIEL KWAN That first month was very emotional. It became this version of group therapy for certain people, especially at college campuses. For a lot of younger Asian American kids, especially children of immigrants, they’d come up to me, and they wouldn’t even be asking about the movie past a certain point. They’d be asking about their own life, like, so what do I do? How do I talk to my parents? And like, I’m not a therapist. My relationship with my parents is good, but it’s good for an Asian American immigrant relationship.Michelle Yeoh in a scene from the film, which Daniel Kwan described as “it’s like if my mom was in ‘The Matrix.’”A24“Everything” is hard to describe. How would you describe it?SCHEINERT Michelle Yeoh stars in an action-adventure movie, but it’s in the multiverse. So we get to interrupt that movie with a family drama and then interrupt that with a romance and then interrupt that with an absurdist comedy. And all of that is a fun way to play with how overwhelming life is these days. But at the end of the day, it’s a story about a family.KWAN And then the really dumb pitch is: It’s like if my mom was in “The Matrix.”In one universe, Michelle Yeoh (as Evelyn Wang, an embattled Chinese American laundromat owner) and Jamie Lee Curtis (as Deirdre Beaubeirdra, her I.R.S. auditor and nemesis) have hot dogs for fingers. How did that come about?SCHEINERT We were just high and hungry. No, that’s not true. When we were writing this, we were engineering that particular universe to be the one that pushes Michelle the furthest out of her comfort zone. It was like, how do we make Evelyn hate the multiverse? And so it was like, oh, well, you’re in love with your auditor, and you have floppy useless hot dogs for fingers.KWAN They’re just dumb ideas. The hot dog fingers idea is something a 5 year old would come up with. The only difference between us and a 5 year old is that we are adults with budgets to actually execute the ideas. A lot of these ideas are really dumb. They’re the kind of thing that anyone could come up with.You have an extended and weird shout-out to “Ratatouille,” which is already a really weird movie. Instead of a rat under a chef’s toque, controlling his every move, you have a singing raccoon riding atop Harry Shum Jr.KWAN There’s a phrase that we picked up from working with comedians. When a joke stacks on a joke and stacks on a joke, it’s called a hat on a hat. It’s a problem. It’s like, don’t put a hat on a hat. You’re messing up the purity of the joke and it’s not funny anymore. But we do the opposite. We love to put a hat on a hat on a hat on a hat.SCHEINERT The hope is that the tiny hat on top of the other hats is the one that makes you cry. It’s not good comedy writing, but it’s fun to play with.KWAN I think you saying that “Ratatouille” is already a really weird movie is probably why we love that movie, because it is weird. A rat controlling a man by his hair is hilarious and strange. And so that already feels like a hat on a hat. Or maybe a rat on a hat.SCHEINERT A rat under a hat.The famous hot dog fingers, which Daniel Scheinert said were devised in response to the question, “How do we make Evelyn hate the universe?”A24“Everything” deals with alternate realities and what one might do differently if you had a second shot at life. Is there anything you might do differently if you had a second shot at this film?SCHEINERT Not really. I think our takeaway from the whole exercise of making a movie about alternate lives is that it made me reflect on all the little forks in my life that got me here. How precarious and miraculous the good stuff in my life is. I feel like just one really charming [expletive] friend in high school and my life would just be garbage right now. Just one persuasive butthead who convinces me to join a cult or be a misogynist, and I wouldn’t be here.KWAN It was the same thing with this film. There were so many moments where we thought the movie was going to fall apart, and those moments ended up making the film better. So it’s like, I don’t want to touch it. It’s not a perfect movie. It’s very strange and messy. But I have no regrets.What’s coming up for you?KWAN We might try to make something really small. Just the opposite of this movie, you know, to disappoint all of our new fans. [Laughs] We think a lot about the way the Coen brothers work. Right after they did “No Country for Old Men,” which won the Oscar and is probably one of the best films of the past 50 years, they followed up with “Burn After Reading.” I love “Burn After Reading,” but it’s like a farcical, nihilistic, stupid joke about bureaucracy. I think they’ve been able to build a long career because they’re constantly playing with expectations, and just kind of doing whatever they want to do. I wish, I hope, that we can have that kind of bravery. More

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      How ‘Everything Everywhere All at Once’ Helps to Heal Generational Trauma

      by

      For me, it was a scene about two rocks. For the actress Stephanie Hsu, it was taking her mom to the Los Angeles premiere.When I was 13, I asked to be admitted to a psychiatric hospital.I was racked with debilitating Obsessive Compulsive Disorder (O.C.D.), forced to write each individual letter against a straightedge, hellbent on perfection. It was messing with my seventh grade mojo.The perfectionism, in turn, shredded my sleep schedule. I spent countless hours, belly on the floor, struggling with my math homework, pressing mechanical pencil to ruler. Parabolas? Forget about it. O.C.D. combined with sleep deprivation and overmedication led to an angsty, early teenage flavor of nihilism — arguably the worst kind.When my mom came to visit, we sat in her car in the hospital parking lot and I told her about it. Head swirling with brain fog, I tried to explain that nothing mattered and how that was pressing me toward a mental brink. She got it.She told me, for the first time, that when she was 25, close to the age I am now, life was too much for her, too, and she tried to leave it. She saw me, understood me and sat there with me — a golden moment between generations.That incandescent memory surfaced a couple of weeks ago, when my roommate and I went to see “Everything Everywhere All At Once” — a sci-fi action adventure about the emotional implications of the multiverse — at the Alamo Drafthouse Cinema in Manhattan’s Financial District.Daniel Kwan and Daniel Scheinert narrate a sequence from their film starring Michelle Yeoh and Ke Huy Quan.Allyson Riggs/A24Evelyn Wang (Michelle Yeoh) is a Chinese American immigrant who just wants to host a Chinese New Year party at her family’s failing laundromat, but a suave alter ego of her husband, Waymond (Ke Huy Quan), arrives to warn her that the multiverse is in danger. So Evelyn learns to “verse jump” — hop between parallel universes to access skills from other versions of herself — then realizes that the dark force threatening the multiverse is inextricably linked to her estranged daughter, Joy (Stephanie Hsu).Evelyn follows a nihilist alter ego of her daughter through infinite universes, trying to figure out why she’s hurting. Then she’s transported to a cliff. Two rocks — one tan and one dark gray — sit side by side, overlooking a ravine and mountains in the distance. It’s silent for a while. Then captions appear — white for Joy, black for Evelyn. This, apparently, is one of the many universes where the conditions weren’t right for life to form.“It’s nice,” reads Evelyn’s text.“Yeah,” reads Joy’s text. “You can just sit here, and everything feels really … far away.”“Joy,” Evelyn’s rock says, “I’m sorry about ruining everything —”“Shhhh,” Joy’s rock says. “You don’t have to worry about that here. Just be a rock.”Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown. Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy. The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves. Lovelorn Romantic: A child star in the 1980s, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blanding action and drama. Anatomy of a Scene: Daniel Kwan and Daniel Scheinert, the film’s directors, discuss an action sequence built around … a fanny pack.“I just feel so stupid — ” Evelyn says.“God!” Joy says. “Please. We’re all stupid! Small, stupid humans. It’s like our whole deal.”Later, Joy asks Evelyn to let her go. Evelyn nods slowly and whispers, “OK.” In our universe, Evelyn lets go of Joy’s waist. In the rock universe, the tan rock slides off the edge of a cliff, rolling down it. But then, in one world, Evelyn turns back to face Joy.Maybe there is, Evelyn says, “something that explains why you still went looking for me through all of this mess. And why no matter what, I still want to be here with you. I will always, always want to be here with you.” The dark gray rock scoots to the edge of the cliff and tips off over it, rolling after her daughter.The scene shattered me, then glued the pieces back together. And it reminded me of the importance of understanding intergenerational trauma — when the effects of trauma are passed down between generations — and addressing it.“Everything Everywhere All At Once,” wrote its directors, Daniel Kwan and Daniel Scheinert, on Twitter, “was a dream about reconciling all of the contradictions, making sense of the largest questions, and imbuing meaning onto the dumbest, most profane parts of humanity. We wanted to stretch ourselves in every direction to bridge the generational gap that often crumbles into generational trauma.”When the 31-year-old breakout star Stephanie Hsu took her mom to the L.A. premiere, her mom cried. Then her mom, who is from Taiwan, pointed to the screen and said, “That’s me.” For Hsu, it was an aha moment: Her mom related to Evelyn’s character, who faces her own trauma in her relationship with her father, Joy’s grandfather, or Gong Gong (James Hong).“Life is so messy, and life is more than a two-and-a-half-hour movie,” Hsu said in a video interview from New York. “Life is a long time, if you’re lucky. We don’t get a script that helps us succinctly metabolize our sadness.”When she first saw the screenplay, Hsu couldn’t believe what she was reading: The mother-daughter relationship was that poignant and relatable. She knew in her bones how complicated and precious that relationship was. And the transference of energy from the screen to the audience, she said, is very real.“When you break open like that, you can’t help but look into yourself and say, ‘OK, that pained me, and I need to look at that,’” Hsu said. “‘Something in me is wanting to heal, and something in me is wanting to take that leap of faith.’”Hsu thinks that’s what art is for: to hold space for trauma and offer catharsis. There’s a generation of women, she thinks, whose idea of strength hinges upon toxic masculinity, bravado and impenetrable toughness.“Our generation and the younger generation is now exploring different types of strength and what it means to be strong when you’re compassionate,” she said. “And how, actually, empathy and radical empathy and radical kindness are also a tool.”Peggy Loo, a licensed psychologist and the director of the Manhattan Therapy Collective, saw the movie on the Upper West Side. She believes that the film can serve as an exercise in imagination for those who have experienced trauma.Trauma can shrink the imagination, she said, if your main reference points for life’s possibilities emerged out of traumatic experiences. To heal, we need to be able to see farther than what we’ve known and been exposed to.“There’s this, ‘We know who we are, we know who we want to be,’” Loo said by phone. “And then the gap between the two. How do we get there?”To Loo, part of the strength of the movie lies in its sci-fi genre, which requires the viewer to suspend reality simply to keep up with the plot. It’s the perfect counterpoint, she said, and a great way to flex the imagination.Rather than neatly tying up loose ends, as movies typically do, “Everything Everywhere” mimics realistically what change can look like, by letting its protagonist make mistake after mistake. Wil Lee, 31, is a software engineer based out of San Francisco. “Not to be reductive,” he tweeted, “but Everything Everywhere All At Once is the generational trauma slam dunk film this season.”The way it fluidly weaves three different languages — Cantonese, Mandarin and English — he continued, is a spot on reflection of how many immigrant households actually communicate.“It shows the linguistic barrier as a core component of this intergenerational misunderstanding,” Lee said in a phone interview, adding, “The divide is so huge that you struggle to even find the right words to explain yourself to your family.”Hsu as Joy with Tallie Medel, who plays her girlfriend, Becky, in the film.Allyson Riggs/A24In one early scene, when Gong Gong arrives at the laundromat, Joy tries to introduce her girlfriend, Becky (Tallie Medel), to him for the first time. Joy fumbles with her Mandarin, and Evelyn jumps in in Cantonese, introducing Becky to Gong Gong as Joy’s “good friend.” Joy’s face falls.When Shirley Chan, a 30-year-old freelance illustrator based in Brooklyn, watched the movie in Kips Bay, it felt like the universe deliberately sent it her way, she wrote in a Letterboxd review, to let her know her own efforts were seen and to give her the courage to live as her most authentic self.A week before she saw the film, Chan came out to her immigrant mother in Cantonese and spoke honestly for the first time about how her upbringing affected her. Some of the Cantonese dialogue, Chan wrote, was uncannily almost word for word what she said to her mom.“But in my actual life, where this verse jumping doesn’t happen,” Chan said in a phone call, “I can see the moments in which she is trying, like asking me if a friend that I’m talking about is my girlfriend or telling me that she’s happy for my career.”The sociologist Nancy Wang Yuen, who specializes in pop culture, sees the universality in the specificities of “Everything Everywhere.” Everybody can relate to a dysfunctional family, regrets, transformation, laundry and taxes.Evelyn is “like our parents, but seen through our lens,” Yuen said by phone. “If our parents could evolve, that’s who Evelyn would be.”I asked my own mom to see the movie, and she did, in Chicago’s West Loop — her first time in a movie theater in two years. She texted me a screenshot of an explainer (I needed an explainer, too) with one line circled in black:“When Evelyn reveals she always wants to be with Joy, no matter where they are, it is the start of a healing process for both characters.” More