Mediocre, profoundly stupid --- A film that cannot be told in half a page is a
bad film, Orson Welles said, I think. The film by Daniel Kwan and DanielScheinert Everything Everywhere All at Once includes all genres: comedy,adventure, action, fantasy, science fiction, horror, kung fu... enclosed in asort of video game that tickles the tame eyes of social networks. Scholars ofdigital language enunciate impostures and lucubrations in the same way and urgethe passive and active user to identify with the factuality of the statement...but it is a language without a world anymore, since it clings to the solitarythought that connects everyone to the assertive oath of the digital doctrine .Cursed poets and notable people are the only ones who have understood thatbeauty, justice and truth belong to conflict, to action or to the "word comingfrom where there is no writing or grammar (...) The field of language is it hasalways been the place of an incessant conflict between word and language"(Giorgio Agamben), and not the prerogative of powers that seek to disguise it,conceal it or transform it in favor of saprophytic and tyrannical institutions.Daniel Kwan and Daniel Scheinert's film packed seven Oscars (Best Picture, BestDirector, Best Actress, Best Supporting Actor, Best Supporting Actress, BestScreenplay, Best Editing), two Golden Globes and a BAFTA Award... released inMarch 2022 in the United States, as of March 2023 it has grossed $112.7 millionworldwide. In most of the Middle East it has not been distributed, including theKingdom of Saudi Arabia and Kuwait, because it traffics in lesbians... Islamicmonarchies are more inclined to manage oil and arms trafficking than respecthuman rights. However, global critics spoke of it as a masterpiece. The LGBTcommunity (Italian acronym: Lesbian, Gay, Bisexual and Transgender) has found astrong gender influence... the philosophy of the multiverses seems to have madeinroads in the audiences and recorded immense approval on television platforms...it took us three attempts to being able to see this film... we found it not onlyramshackle and mediocre, but stupid, profoundly stupid, to the point of fallinginto involuntary ridicule.Everything Everywhere All at Once tells the story of a Chinese-American familywho runs a laundromat on the verge of bankruptcy and their Kafkaesque adventurejourney in the tax agency building. There is also the interlude of the lesbiandaughter misunderstood by her mother and in the end everything falls into place,the girl's "otherness" is accepted and they all lived happily ever after,passionately in America. A five-minute short would have been enough to tell thestory, the directors of Everything Everywhere All at Once took 140 minutes... noteven the agony of an innocent sentenced to the electric chair was that fierce for us.The film is manufactured in three parts:I.Everything. Evelyn Quan Wang (Michelle Yeoh) is a Chinese immigrant in theprocess of divorcing, her husband Waymond Wang (Ke Huy Quan) is a meek cheerfulwho transmutes into Alpha Waymond, coming from a universe called "Alphaverse".The late Alpha Evelyn and all the people of the Alphaverse developed the"verse-jump" technology that allows you to go back in memories and acquirefantastic warlike abilities. The multiverse is threatened by daughter Joy(Stephanie Hsu) who turns into the villain Jobu Tupaki... father Gong Gong (JamesHong) is an old man with Alzheimer's in a wheelchair who also becomes a powerfulbusinessman... finally the seasoning of many visual-connective nonsense, there isthe tax employee Deirdre Beaubeirdra (Jamie Lee Curtis), a sort ofFrankenstein-woman who instead of frightening merciless hilarity.II. Everywhere. Evelyn travels through bizarre universes... the directors tell usthat Evelyn was a movie star, a kung fu master and even had a lesbianrelationship with Deirdre... in this universe all humans have hot dogs forfingers (?! )... there is also a raccoon on the head of a young chef and twolarge stones with talking eyes on top of a mountain. Evelyn tells Joy (the evilJobu Tupaki) that she no longer feels alone, she is her mother and she willalways choose to be by her side, in whatever universe she may be. Evelyn remindsher father about her when she kicked her out of her house because she fell inlove with a poor boy and she reconciles him with her husband... Waymond convincesDeirdre to give her more time to file her tax documents and save the laundry .Joy/Jobu Tupaki initially rejects her mother, but after a tormented argument theyembrace in newfound love.III. All at Once. Happiness has arrived in the laundry and the tax office alsoseems to have a heart. Joy's girlfriend Becky (Tallie Medel) is now consideredpart of the family... Waymond and Evelyn smile again and go back to the taxbuilding... Deirdre is polite to Evelyn this time but she is now drawn to hismultiverses and seems to fly into a new universe. We stop here. But not out ofresignation or boredom... we are not prone to delusional obsessions or hostile todisturbances of the tamed imagination... however we know that a fairy tale likethis, dressed up under a videogame technological paraphernalia, is a craftymerchant ship of low caliber that can only tickle the trained looks of appearance.The direction, the screenplay, the shots by Daniel Kwan and Daniel Scheinert areextracted from the lowest Hong Kong b-movies... little demiurges of a phalansteryof banalities that humiliate even the most incredulous spectator's curiosity andinvite him to a universal yawn. Larkin Seiple's photography is a summation ofgreys, yellows, reds, more faded than the billboards of shopping malls andtogether with the jagged editing of Paul Rogers forces us to reconsider thedemolition of the buildings blown up with dynamite, that at least they have acertain charm of the extreme. Son Lux's music alternates itineraries of hate,disaster and even love, rinsed in a complacent stoup that rivals only theuselessness of national anthems. The quintessential glory of one's own sterility.The acting is all a circus or provincial cabaret casuistry... the performersremain tied as much to the farce as to the extreme unction of the narration...they equate the extra with the tragedy and fail in both ways... they lackrefinement, authority, credibility and what oozes from the screen/video is aformulary of visual-linguistic alphabets or enthusiasm sophisms that do not leavethe premonitory dimension of lack of talent... a film that does not express theessence of what one cannot understand nor it leads one to reflect on the idiocyof one's era, it's not just a bad film, it's a stupid film.The twilight of market cinema (not only) in Hollywood... it is built oninnumerable stereotypes and raised everywhere as an oracle... the kneelingaudiences (and sofas) welcome it in its ill-concealed cultural ambitions andswallow the product as a brand of an event, without realizing never to be facedwith a quantity of flattery, fraud, counterfeiting that continues to reproducereservoirs of alarming stupidity. Cinema (like any form of expression) dies whenit no longer has the strength to overthrow the gods who erect it into a work ofart. Only in times when the masters of the imaginary are deposed by poets ofunsuspecting subversion, creators and servants fall apart, because the imprimaturof their certainties is taken away from them. In the cinema of stupidity,everything ages, even unhappiness. In the cinema of poetry, emotion fades intobeauty and justice and denies the eternity of pain. It is not easy to destroy anyMyth, since it is not enough to destroy its flattery and its municipal vocationfor established crime, one must also destroy the roots of its idolatry.Pino Bertellihttps://www.sicilialibertaria.it/_________________________________________A - I N F O S N E W S S E R V I C EBy, For, and About AnarchistsSend news reports to A-infos-en mailing listA-infos-en@ainfos.ca
Geen opmerkingen:
Een reactie posten