‘Everything Everywhere All at Once’ Is Big Winner at the Oscars
In the late 1960s, young cineastes shook up a moribund film industry by delivering idiosyncratic, startlingly original work. The moment became known as New Hollywood.
When film historians look back at the 95th Academy Awards, they may mark it as the start of a new New Hollywood. Voters honored A24’s head-twisting, sex toy-brandishing, TikTok-era “Everything Everywhere All at Once” with the Oscar for best picture — along with six other awards — while naming Netflix’s German-language war epic “All Quiet on the Western Front” the winner in four categories, including best international film.
当电影史学家回顾第95届奥斯卡金像奖时，他们可能会认为，这是一个新新好莱坞的开始。投票者将奥斯卡最佳影片奖以及其他六个奖项授予了A24电影公司的一部令人头晕目眩、挥舞着性玩具、属于TikTok时代的《瞬息全宇宙》(Everything Everywhere All at Once)，同时将网飞的德语战争史诗片《西线无战事》(All Quiet on the Western Front)评为四项大奖的得主，其中包括最佳国际影片奖。
The Daniels, the young filmmaking duo behind the racially diverse “Everything Everywhere All at Once,” won Oscars for their original screenplay and directing. (The Daniels is an oh-so-cool sobriquet for Daniel Kwan and Daniel Scheinert. They are both 35.) The film, which received a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor and actress, with Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis honored for their performances.
“Ladies, don’t let anybody ever tell you that you are ever past your prime,” Yeoh, 60, said when accepting the best actress Oscar. “Never give up.” She was the first Asian woman to receive the award.
Quan’s win provided the Academy Awards with a hall-of-fame comeback story: After early success in movies like “The Goonies” and “Indiana Jones and the Temple of Doom,” his acting career grew so cold that he turned to stunt work. “Dreams are something you have to believe in,” Quan said as tears streamed down his face and A-list attendees gave him a standing ovation. “I almost gave up on mine. To everyone out there, please keep your dreams alive.”
关继威的获奖为奥斯卡金像奖提供了一个名人堂级别的复出故事：在《七宝奇谋》(The Goonies)和《夺宝奇兵》(Indiana Jones and the Temple of Doom)等电影取得早期成功后，他的演艺生涯陷入低谷，以至于转向了特技工作。“梦想是你必须要相信的东西，”关泪流满面地说，一线明星们起立为他鼓掌。“我差一点放弃了我的。我想对所有人说，不要放弃你的梦想。”
Curtis was also in tears by the time she reached the fiery conclusion of her acceptance speech. “To all of the people who have supported the genre movies that I have made for all these years,” she said, “the thousands and hundreds of thousands of people, we just won an Oscar together!”
The Academy of Motion Picture Arts and Sciences spread nominations remarkably far and wide this year. Two blockbuster sequels, “Avatar: The Way of Water” and “Top Gun: Maverick,” made the best picture cut. So did the little-seen art films “Triangle of Sadness,” “Women Talking” and “Tár.” Voters also made room for a musical (“Elvis”) and a memory piece (“The Fabelmans”).
美国电影艺术与科学学院今年的提名非常广泛。两部票房火爆的续集《阿凡达：水之道》(Avatar: The Way of Water)和《壮志凌云：独行侠》(Top Gun: Maverick)获最佳影片提名。小众的艺术电影《悲情三角》（Triangle of Sadness）、《女人们的谈话》(Women Talking)和《塔尔》(Tár)也是如此。投票者还让一部音乐剧《猫王》(Elvis)和一部回忆片《造梦之家》(The Fabelmans)获得了提名。
In some ways, spreading nominations widely reflected the jumbled state of Hollywood. No one in the movie capital seems to know which end is up, with streaming services like Netflix hot then not, and studios unsure about how many films to release in theaters and whether anything but superheroes, sequels and horror stories can succeed. Over the weekend, “Scream VI” was the top movie at the North American box office, with an estimated $44.5 million in ticket sales.
First-time nominees filled 16 of the 20 acting slots, with new stars like Austin Butler (“Elvis”), Barry Keoghan (“The Banshees of Inisherin”), Brian Tyree Henry (“Causeway”), Paul Mescal (“Aftersun”) and Stephanie Hsu (“Everything Everywhere All at Once”) honored for breakthrough roles.
首次获得提名的演员占据了20个表演提名中的16个，新星如《猫王》的奥斯汀·巴特勒、《伊尼舍林的报丧女妖》(The Banshees of Inisherin)的巴里·基奥根、《桥之彼端》(Causeway)的布莱恩·泰里·亨利、《晒后假日》(Aftersun)的保罗·梅斯卡尔以及《瞬息全宇宙》的许玮伦都因他们的突破性演出而荣获提名。
But first-time acting nominations also went to Hollywood stalwarts like Curtis, Yeoh and Brendan Fraser. To some degree, the inclusion of Quan, Curtis, Fraser and Yeoh was seen as redemption for Hollywood: All had somehow been cast to the side at some point over their careers.
An overcome Fraser, who won the Oscar for best actor for his performance as an obese professor in “The Whale,” thanked Darren Aronofsky, the film’s director, “for throwing me a creative lifeline.”
The academy was also trying to balance old and new in the Oscars ceremony itself. The academy’s chief executive had promised a return to the polished, glamorous Oscar ceremonies of the past to recover from last year’s chaotic telecast, when an angry Will Smith walked onstage and slapped Chris Rock. In a change from last year, when eight categories were scuttled to a nontelevised portion, all 23 Oscars were handed out live on air.
As host, Jimmy Kimmel arrived on the Oscars stage by parachute, moments after a pair of “Top Gun”-style fighter jets flew over the Dolby Theater in Los Angeles at 345 miles per hour. He then breezed through a self-assured monologue that left the A-listers seated before him cheering in support. He teased Steven Spielberg — gently — for his lack of recreational drug use and Fraser and Quan for once appearing together in “Encino Man.” It was the kind of affable ribbing that once made Billy Crystal the king of the Oscar M.C.’s.
“And if any of you get offended by a joke and decide you want to come up here and get jiggy with it? It’s not going to be easy,” Kimmel said, addressing last year’s slap without directly mentioning Smith. He then joked that people like Michael B. Jordan, the “Creed” star, and Pedro Pascal, who plays the title role in “The Mandalorian,” were prepared to intervene.
“如果你们有谁因某个玩笑感觉被冒犯，想上台来大闹一通（Gettin' Jiggy Wit It，史密斯的单曲。——译注），可没那么容易，”基摩尔在谈到去年的掌掴事件时表示，他没有直接提及史密斯。然后他开玩笑说，《奎迪》(Creed)男主迈克尔·B·乔丹和《曼达洛人》(The Mandalorian)主演佩德罗·帕斯卡等人已经做好了拦截准备。
“Seriously, the academy has a crisis team in place,” Kimmel said. “If anything unpredictable or violent happens during the ceremony, just do what you did last year — nothing. Maybe even give the assailant a hug.”
As expected, “Guillermo del Toro’s Pinocchio” received the Oscar for best animated feature, and “Navalny” was honored as best documentary. Less anticipated was Ruth Carter’s win for her “Black Panther: Wakanda Forever” costume design. (Most awards handicappers had predicted victory for the “Elvis” costume designer Catherine Martin. Carter also won for “Black Panther” in 2019.)
如前预测，《吉尔莫·德尔·托罗的匹诺曹》(Guillermo del Toro’s Pinocchio)斩获奥斯卡最佳动画长片，《纳瓦尔尼》(Navalny)获得最佳纪录长片奖。比较出乎预料的是露丝·卡特凭借《黑豹：瓦坎达万岁》(Black Panther: Wakanda Forever)拿下了最佳服装设计奖（大多评委都预测《猫王》服装设计师凯瑟琳·马丁将获奖。卡特在2019年已经凭借《黑豹》获得此奖。）
The #OscarsSoWhite outcries from 2015 and 2016, prompted by all-white slates of acting nominees, continue to reverberate at the academy, which has been trying to diversify its membership by race, gender and nationality. Nearly 50 percent of the academy’s most recent class of new members came from overseas. About 25 percent of the academy’s total membership of 10,000 now comes from outside the United States.
But the academy was criticized this year for not nominating any women in the best director category. For decades, women and people of color were almost entirely excluded from the directing race. In 2021, for the first time, two women were nominated: Chloé Zhao (“Nomadland”) and Emerald Fennell (“Promising Young Woman”), with Zhao winning. Last year, Jane Campion (“The Power of the Dog”) won the Oscar for directing.
但电影学院今年还是因未能在最佳导演奖项中提名任何女性而受到批评。数十年来，女性和有色人种几乎完全被排除在最佳导演奖的竞逐外。2021年，赵婷（《无依之地》[Nomadland]）和埃默拉尔德·芬内尔（《前程似锦的女孩》[Promising Young Woman]）成为首次获得提名的两位女性，赵婷最终获奖。去年的奥斯卡最佳导演奖给了简·坎皮恩（《犬之力》[The Power of the Dog]）。
This year, Sarah Polley (“Women Talking”) was left out even though her film was nominated for best picture. (Polley won for her adapted screenplay.) “I give up,” Patty Jenkins, whose directing credits include “Wonder Woman” and “Monster,” told Variety on Saturday about women being shut out of the category. “It’s still going to take a long ways to go. It’s going to take a lot more to really see truly more diverse awards.”
The internationalization of the academy was on display among this year’s directing nominees. The Swedish filmmaker Ruben Östlund (“Triangle of Sadness”) and the British-born Martin McDonagh (“The Banshees of Inisherin”) were honored. Joining them were Todd Field (Tár) and the Daniels. Filling out the best director category was Spielberg — a director who was once part of that New Hollywood crew and is now a Hollywood elder statesman with nine total nominations for directing, this one for “The Fabelmans.”
The academy emphasized that the ceremony would feel modern — part of an urgent effort to make the telecast more relevant to young people. The 2022 show drew 16.6 million viewers, the second-worst turnout on record after the pandemic-affected 2021 telecast. If the Nielsen ratings do not improve, the academy faces a financial precipice: Most of its revenue comes from the sale of broadcasting rights to the show. Hundreds of millions of dollars are at stake. (The most-viewed Oscars telecast was in 1998, when 57.2 million people watched “Titanic” win the trophy for best picture.)
Big musical stars, including Rihanna and Lady Gaga, sang their nominated songs; Lenny Kravitz performed during the “In Memoriam” segment. The best song Oscar went to “Naatu Naatu” from the Indian film “RRR.” The nominee pool for best picture had never before included more than one billion-dollar ticket seller, according to box office databases, and this year there were two. “Top Gun: Maverick” collected $1.5 billion, and “Avatar: The Way of Water” took in $2.3 billion. (Viewership tends to increase when popular films are nominated.)
蕾哈娜和Lady Gaga等歌坛巨星演唱了提名歌曲；兰尼·克拉维茨在“缅怀”环节登台演出。奥斯卡最佳原创歌曲奖颁给了印度电影《RRR》的《纳图纳图》(Naatu Naatu)。根据票房数据，在此前所有入围最佳影片奖的作品中，从来没有票房超过10亿美元的卖座大片，但今年有两部。《壮志凌云：独行侠》票房收入15亿美元，而《阿凡达：水之道》票房达到23亿美元。（当卖座影片获得提名时，奥斯卡收视率往往更高。）
In another change, the red carpet was not red: Stars walked a champagne-colored rug, breaking with a 62-year tradition. The choice was made as part of an overhaul of the preshow spectacle, which, for the first time, was managed by members of the Met Gala’s creative team. In the days leading up to the Oscars, another in a series of rainstorms soaked Los Angeles, so much so that the academy sent an alert to the news media on Wednesday warning that it may “need to clear the carpet at a moment’s notice.” In the end, the weather cooperated, and it was a sunny 63 degrees.