Back in December when its trailer first lit up the silver screen, Everything Everywhere All At Once’s genre was unclear. The general consensus, amidst labels of science fiction, action, comedy, and drama, was that the movie looked weird. Teasers for the film hinted at a multiverse plotline, accented by wacky, absurdist visuals. Additionally, it was distributed by A24: a sure promise of unconventionality, if the googly eyes and hot dog hands weren’t enough of an indication. These details piqued my interest in the movie long before it hit theaters. But most notable to me was not the trailer’s invigorating cinematography, nor the whimsical premise; it was the novelty of seeing a screen delightfully aglow with Asian faces, graced by an all-star and primarily Asian cast.
Despite stirring up reasonable anticipation, Everything Everywhere’s release received criticism from initial reviews. Some claimed that the fantasy universe fell flat and lacked crucial structure. I was forced to lower my expectations for the film.
I didn’t need to worry… I was utterly blown away.
Movies do not make me cry, but this one came close. After a lifetime of leaving the theater dry-eyed, a single scene with sentient rocks is what almost got me. Who knew that the poignance of a mother-daughter relationship could be expressed between stones?
Notwithstanding my own emotional experience, it should be noted that Everything Everywhere is not necessarily a sad movie. That is to say, it’s not so much sad as it is everything. In the span of two hours, I went from snorting at butt jokes to re-evaluating my mortal existence. (It doesn’t make any more sense with context. Just go see the movie.)
Light spoilers incoming.
At surface level, the story is about a laundromat owner, Evelyn, who navigates a bizarre multiverse to escape her life of regrets. However, behind the clever ruse of absurdism and recurring gags, this film also depicts an aging immigrant woman’s search for purpose. Even as she unlocks infinite realities, Evelyn’s pursuit remains constant–as do her family’s conflicts, which follow her throughout the multiverse. Abstract visuals are contrasted by the emotional realism of her relationships: from dissatisfaction in a tumultuous marriage to exasperation with an increasingly distant daughter. EEAAO reveals itself to be a bittersweet portrayal of human connection and the Asian-American experience. The film expertly employs absurdism as a story-telling medium; it is at once fantastical and grounded, universes away and too close to home.
The movie’s final message is nihilism at its best: nothing matters, so everything matters. The end-credits song, which features Japanese-American artist Mitski, reiterates:
“This is a life
Free from destiny
…I choose you and you choose me”
Even if nothing matters, life is meaningful because we choose to give it value. Kindness has value. The people in our lives have value. Something as mundane as laundromat taxes, something as ridiculous as a hot dog hand, has value. This theme, though not revolutionary, is timeless: in an uncaring universe, humanity prevails. Coupled with explosive, unforgettable visuals, this film is on track to become one of 2022’s best.
There’s so much more I could say, and I’ve already said too much. The movie is best if you go in blind. As Asian American and Pacific Islander month comes to a close, there is no better time to watch it. The talented majority-Asian cast brings performances that launch this film to the next level; children of Asian diaspora, queer teenagers, and anyone with a heart can find a piece of themselves in the story.
Along with a brilliant soundtrack and thrilling action sequences, Everything Everywhere exemplifies the art form of maximalism in cinema. Although it may not be to everyone’s taste, it is an experience unlike any other. Its absurdism transcends all logic and enters the realm of emotion–you may not understand this movie, but you will feel it.
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