Everything everywhere all at once

What’s better than a Marvel Cinematic Universe? A Marvel Cinematic Multiverse. Once limited to theoretical physics and comic-book plot conveniences, the notion of a multiverse has been an essential tool for Hollywood. Whether it’s Despite being filmmaking’s crutch du jour, the idea of a multiverse is also at the center of one of the most heartfelt and ambitious movies of the year. Everything Everywhere All at Once is a runaway critical and commercial hit, but its success doesn’t stem from how it dials up the reality-bending. It comes from how it manages to use the trope to tell a much sillier and much simpler story. The film follows a Chinese American family making their way through mundane, messy problems. Evelyn (played by Michelle Yeoh) runs a struggling laundromat and faces an IRS audit. Her husband, Waymond (Ke Huy Quan), is sweet, if a bit distracted, but he’s unhappy in their marriage. And their daughter, Joy (Stephanie Hsu), is growing distant as her parents fail to include her girlfriend in their lives. But what begins as family drama rapidly becomes absurdist action comedy. Using an alternate reality’s “verse jumping” technology, the family members find themselves fighting with fanny-pack nunchucks, encountering Ratatouille-style raccoon chefs, and playing the piano with their feet (because they have hot-dog fingers, of course). The essential magic of the movie is that the ridiculous multiverse plot is in service of the everyday story. Every choice, big or small,...

Download a PDF of the paper titled Tracking Everything Everywhere All at Once, by Qianqian Wang and 6 other authors Abstract: We present a new test-time optimization method for estimating dense and long-range motion from a video sequence. Prior optical flow or particle video tracking algorithms typically operate within limited temporal windows, struggling to track through occlusions and maintain global consistency of estimated motion trajectories. We propose a complete and globally consistent motion representation, dubbed OmniMotion, that allows for accurate, full-length motion estimation of every pixel in a video. OmniMotion represents a video using a quasi-3D canonical volume and performs pixel-wise tracking via bijections between local and canonical space. This representation allows us to ensure global consistency, track through occlusions, and model any combination of camera and object motion. Extensive evaluations on the TAP-Vid benchmark and real-world footage show that our approach outperforms prior state-of-the-art methods by a large margin both quantitatively and qualitatively. See our project page for more results: arXivLabs: experimental projects with community collaborators arXivLabs is a framework that allows collaborators to develop and share new arXiv features directly on our website. Both individuals and organizations that work with arXivLabs have embraced and accepted our values of openness, community, excellence, and user data privacy. arXiv is committed ...

Author • Kiki Tianqi Yu Senior Lecturer in Film, Queen Mary University of London Disclosure statement Kiki Tianqi Yu does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. Partners The Conversation UK receives funding from these organisations View the full list Warning: the following article contains spoilers for Everything, Everywhere, All At Once. Having enlisted an old friend to babysit our little girls, my husband and I hopped on the bus to see Everything, Everywhere, All at Once as our almost once-in-a-year date film. In the cinema, I started to wonder: why on earth I am watching another Chinese woman’s distressing life as she copes with all the sorts of relationships, from family to work, which I have only managed to escape myself for a few hours? The trailer for Everything, Everywhere, All At Once. The film centres on a Chinese family – headed by the mother, Evelyn, played by Michelle Yeoh – who run a laundrette in a North American town. The family are facing audit questioning, while at the same time, a divorce paper is raised, a never satisfied, ageing father is visiting and the daughter (Stephanie Hsu) is seeking approval for her same-sex relationship. Evelyn – who must shoulder all this grief and tension – then finds herself at the centre of multiverse-spanning battle. Multiverse aside, it was all painfully fam...

• • • Where to Stream Oscar-Winning Film ‘Everything Everywhere All at Once’ Online A24's sci-fi action comedy took home seven Academy Awards, including for best picture, best directing, best actress for Michelle Yeoh, best supporting actor for Ke Huy Quan and best supporting actress for Jamie Lee Curtis. • Share this article on Facebook • Share this article on Twitter • Share this article on Flipboard • Share this article on Email • Show additional share options • Share this article on Linkedin • Share this article on Pinit • Share this article on Reddit • Share this article on Tumblr • Share this article on Whatsapp • Share this article on Print • Share this article on Comment If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission. Written and directed by filmmaking duo the Daniels (Daniel Kwan and Daniel Scheinert), the multiverse-hopping movie took home Academy Awards for best picture, best directing, best original screenplay, best lead actress for Yeoh plays Evelyn Wang, a frazzled laundromat owner facing an IRS tax audit who gets pulled into an epic battle across parallel universes. Rounding out the cast is Quan (who also won a Golden Globe for his role) as her husband Waymond, Curtis as IRS case worker Deirdre Beaubeirdra, best supporting actress nominee Stephanie Hsu as her daughter Joy and James Hong as her elderly father. Related: The A24 film was also nominated for be...

‘Everything Everywhere All At Once’ sweeps Oscars with seven wins The film about the multiverse – produced by the independent studio A24 – picked up the Oscar for Best Picture, Best Director and Best Original Screenplay, among others. Michelle Yeoh and Brendan Fraser won for Best Actress and Best Actor respectively. And a German film – ‘All Quiet on the Western Front’ – took Best International Film and three other statuettes When Oscar night started, many thought that a single film was going to sweep its 95th edition. However, it turned out that not one, but two movies would dominate the big Hollywood evening from start to finish. Everything Everywhere All At Oncereached the culmination of an incredible journey. After sweeping the alternative film festival South by Southwest, it became a phenomenon among audiences, before ultimately winning seven of its 11 Oscar nominations. This puts it on the same level as classics such as The Bridge on the River Kwai, Lawrence of Arabia, Patton and Slumdog Millionaire. All Quiet on the Western Front – a German movie, the third film adaptation of Erich Maria Remarque’s anti-militarist novel – surprised everyone by winning four Academy Awards. More information Early in the night, it was clear that Everything Everywhere All At Once was on the way to success. The second and third prizes awarded during the gala went to Huy Quan started out as a child actor, achieving fame by appearing in Indiana Jones and the Temple of Doom and The Goonies. ...

> > There's no simple way to sum up the Everything Everywhere All At Once. It begins with the premise that a Chinese American immigrant named Evelyn Wang (Michelle Yeoh) must enter the multiverse to stop an alternate version of her daughter, Joy (Stephanie Hsu), from annihilating their world. Evelyn's husband, Waymond (Ke Huy Quan), is along for the ride. (At the Oscars, EEAAO is two hours of chaos punctuated by absurdist humor and nonstop action sequences, followed by a string of emotional revelations about Evelyn, Joy, Waymond, and the human condition. Without much warning, the film becomes a depiction of how someone — Joy — can be brought back from the edge of their existence. Suddenly, the viewer comes face-to-face with a version of their own emotional pain as the movie's fantastical scenes give way to something far more relatable: an unexpected but masterful story about mental health. There's Joy's depression, a powerful current beneath her casual facade. It's the interminable heartbreak Evelyn feels in the long wake of her father's rejection. The grueling demands of running a small business as an immigrant woman have overrun Evelyn's life — and her ability to marvel at everyday beauty. Though Waymond may be preternaturally kind, he's not immune to the excruciating loneliness of feeling that the fissure in his marriage is beyond repair. In the Alphaverse, Joy's alternate persona Jobu wonders if there's a way to end all the pain; the nihilism that afflicts her is simpl...

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• العربية • বাংলা • Беларуская • Български • Català • Čeština • ChiShona • Dansk • Deutsch • Eesti • Ελληνικά • Español • Esperanto • Euskara • فارسی • Français • Galego • 한국어 • Bahasa Indonesia • Italiano • עברית • Kernowek • Kurdî • Latviešu • Magyar • Македонски • مصرى • Bahasa Melayu • Nederlands • 日本語 • Norsk bokmål • Oʻzbekcha / ўзбекча • ਪੰਜਾਬੀ • Polski • Português • Română • Русский • Simple English • Slovenčina • Српски / srpski • Suomi • Svenska • தமிழ் • ไทย • Тоҷикӣ • Türkçe • Українська • Tiếng Việt • 吴语 • 粵語 • 中文 • English • Mandarin • Cantonese Budget $14.3–25 million Box office $141 million Everything Everywhere All at Once is a 2022 American film written and directed by Kwan and Scheinert began work on the project in 2010. Production was announced in 2018, and principal photography ran from January to March 2020. The filmmakers initially sought Everything Everywhere All at Once premiered at Plot [ ] Evelyn Quan Wang is a middle-aged In the present day, the laundromat is being audited by the Gong Gong, At a tense meeting with IRS inspector Deirdre Beaubeirdre, Waymond's body is taken over by Alpha-Waymond, a version of Waymond from the "Alphaverse." Alpha-Waymond explains to Evelyn that many The everything, Evelyn is given verse-jumping technology to fight Jobu's minions, who converge on the IRS building. She discovers other universes in which she made different choices and flourished, such as becoming a kung fu master and film star; she also learns of Waym...

From IRS audits to sentient rocks to hot dog hands and beyond, the mundane and the inane collide with the profound in “ Where did all these zany ideas come from? Well, where do any ideas come from? Ask filmmaking duo On this particular afternoon in this particular universe, as they Zoom together in Kwan’s lightly cluttered home office in Los Angeles, they trace a line back to their last movie, “ Following its critical and box office successes, “Everything Everywhere All at Once” leads Oscar nominations. “We showed it to our parents and it sparked so many conversations,” said Scheinert, who with Kwan spent a decade building their eccentric brand around mind-boggling music videos, shorts and films. “It made us reflect: why did we feel the need to make something so strange — and why is it so hard for our parents to understand it?” “Everything Everywhere All at Once” follows Evelyn Wang (Yeoh), a woman drowning under the stress of her family’s failing laundromat, her ailing marriage to Waymond (Ke Huy Quan) and the elderly father (James Hong) who disapproves of her life choices. But it’s the widening gulf between (Allyson Riggs / A24) The metaverse as metaphor for internet overload Written in 2016, “Everything Everywhere” was in part a product of the “contradictions and emotional whiplash” of being very online at the time. “The internet had started to create these alternate universes,” said Kwan. “We were for the first time realizing how scary the internet was, moving from thi...