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You could say that our life is a series of regrets. It’s a collection of missed opportunities, and unexplored roads. We grow up with dreams of becoming rock stars or astronauts, or at least not disappointing our families. But we settle for smaller wins, enjoying financial independence or any slice of happiness that we can find. As the canvas of our life becomes weighed down with responsibilities and disappointments and a thousand doors are closed behind us, we compromise, forgive, and compromise again. Slowly, what were once active choices, become the conditions of your imprisonment. The endless cycles that define the journey from unhappy adulthood into the grave.
Evelyn Quan Wang is trapped in those cycles as Everything Everywhere All At Once begins, dealing with the immediate concerns of her father’s birthday and laundromat’s audit while buckling under the weight of a million missed opportunities. She is a woman of many false starts. Her alternate version, Waymond, will tell you that she has tried three different things, but still ended up in a cycle of laundry and taxes, taxes and laundry. The cycle is inescapable, eternal, ever-present; it is clear in the circling of her non-deductible expenses, the leering ring of her mirror, the bagel that is her depressed, all-seeing daughter’s desire for oblivion made manifest.
Evelyn does have more problems than ensuring that an audit is successful. In our universe, Evelyn’s fear of missed chances and disappointing her father have left her and her daughter Joy estranged, the dissatisfaction that has defined Evelyn’s life filtering dIt is a good idea to use into a constant berating of her daughter’s choices. But in another, Evelyn’s generational trauma has done a touch more damage – has in fact awakened her daughter to the infinite opportunity of recognizing every single reality at once, which of course instantly made each of those realities meaningless and unsatisfying. Evelyn seeks opportunities missed, but Joy embodies opportunities claimed – and either way, the paralyzing spread of such possibilities ultimately robs your ownChoices of any meaning or satisfaction.
Evelyn’s task is to defeat this potential child, a goal that requires her to be aware of every alternate self. Daniel Kwan and Daniel Scheinert are the co-directors who bring these selves to life in a glorious way. They’re no strangers of cinematic maximalism and wild visual ornamentation. Prior to this film, I would have called that a fault – but for conveying the anxious world of Evelyn Wang, they are undeniably perfectly suited. Even before learning to switch between realities, Evelyn’s world is defined by vast arrays of background detritus, of knickknacks and discarded instruments that speak to a lifetime of never finding the right passion. When the Daniels have to invent and navigate a multiverse they experience magic.
The Daniels’ eye for visual detail reveals the incidental substance of our lives, while their irrepressible playfulness is given a natural vehicle through mechanical inventions like the Daniels’ hologram. The incidental substance of our lives is revealed through the Daniels’ eye for visual detail, while their irrepressible playfulness is given a natural vehicle through mechanical inventions like “dial switching”The following are some examples of how to get started: “jump pads,”All of which add humor and ingenuity to the film without compromising its emotional impact. You can convince a horse of absurdism that has thematic resonance. But it will take a lifetime watching heroes jump from reality to reality to make a horse drink.
The potentially limitless tonal discordance of Evelyn’s multiverse is grounded via winking aesthetic homage. Evelyn’s trip to the auditor, which doubles as her initial introduction to the multiverse, is presented as a clear riff on Neo’s office chase in The Matrix, down to its sickly green color correction and bizarre radio instructions. Her sepia universe is a pale replica of the one where she’s a movie star reuniting Raymond after many years. Caught in tastefully decaying alleys and surrounded by a rich bloom of bokeh, their reunion is a clear riff on In the Mood for Love, distilling Wong Kar-wai’s treatise on love and longing down to a few sparse minutes. Is the world of these two women so glamorous? Perhaps it is only our own Evelyn’s hunger making it so.
The battle to find meaning is the ultimate goal of Everything Everywhere at Once, not to save all reality but to save the human race. You can also find out more about the following: reality, in both the choices we’ve made and the roads not traveled. To be Presenting, in this time and this moment – to understand that “I know you have a lot on your mind, but nothing could be more important than this conversation we’re having right now.”The curse of Joy is that it’s impossible to find meaning within any one universe. This metaphor works for both attention deficit and life-long regrets. She lives in “a lifetime of shattered moments,”It is better to embrace nihilism or non-existence than to suffer the pain of countless meaningless reality. “If nothing matters, then all the pain and guilt you feel for making nothing of your life goes away.”
Neither Evelyn’s frantic scramble for happy fragments, nor Joy’s fatalistic abandonment of those fragments’ potential, can save them from the despair of knowing they have always and will always waste their life, ending up as disappointments to the people who raised them. One cannot live happily in all possible lives simultaneously; attempting the find the “correct” path will only lead to Evelyn’s anxiety or Joy’s depression, as the expectations we’ve failed to meet calcify into an overwhelming certainty of failure and disappointment. Evelyn’s early attempts to console her daughter only reaffirm that certainty; though she acknowledges Joy’s desire to “give up,”She describes her desire as something. Apart from that,From Joy, a theoretical interloper who could be excised. Parents want their children happy. This can manifest as a desire to bring them back to the simple, easy enjoyment of childhood. But many of us are just kind of broken in some way or another, and our parents must learn to love us even if we don’t end conforming to the shapes they desired, or don’t seem as effortlessly happy as we once were.
Evelyn cannot “fix” Joy, and she cannot claim all of the multiverse’s endless scattered pleasures. Even when given the key, reaching these worlds only intensifies her anxiety and unhappiness, offering a 1,000 worlds where nothing is meaningful, where “everything we do gets washed away in a sea of other possibilities.” Salvation does not come from compressing all of these diverse pleasures into one coherent, rightful timeline – it comes from the one member of the Wang family who is left out of these pan dimensional travels, from the man Evelyn cannot help but refer to as “my stupid husband.” Like everything else in Evelyn’s life, Waymond is pushed aside in the pursuit of greater happiness, like a hobby she discarded years ago. But confused and frightened as he is, Waymond is the only one of them who has any comprehension of what is important – of how crucial this exact moment could be, if Evelyn would only let it.
When asked what he did, he replied “I don’t know.” “defeated” the auditor looming over Evelyn’s life, he replies “I don’t know. I just talked to her.”Waymond has the ability to see the bright side of things, and even hope that they will work out. Compared to his wife and daughter, his earnest engagement with the world is practically a superpower – and as Evelyn eventually admits, his presence in their lives could not be more essential. A nervous, sometimes silly man who nevertheless sees the beauty of the world and encourages us to see it as well.
“When I choose to see the good side of things, I’m not being naive,”Wong Karwai Waymond explains to Wong Karwai Evelyn. “It is strategic and necessary. It’s how I’ve learned to survive through everything.”Waymond was devastated when he watched Evelyn leave and become a movie superstar. He had lost the love of his lifetime. Such disappointments could easily drive us into despair and encourage to dwell on the things that we cannot change. But we can also Choose your ownFocus on the positives in the chaos. “few specks of time where any of this makes sense.” There are always a thousand reasons to give up, to despair, to concern ourselves only with the opportunities we’ve lost. But there are many good things in the world, if you can be present, mindful and appreciate them.
“The only thing I do know is that we have to be kind,”Waymond continues. Kurt Vonnegut taught us the same lesson, and it is the only thing that matters. We must be kind and compassionate to each other and ourselves to prevent the cyclical negativity from affecting those we love. We must forgive ourselves for not opening all of those doors, and accept that not everyone will do the same – to assume the same bravery as Evelyn facing her father, stating “it’s okay if you’re not proud of me. Because I finally am.” It’s a lesson we could all take a little closer to heart; myself certainly, as someone who broke into heavy, ugly tears at Joy’s question of “why not go somewhere where your daughter is more than just… this?” We are all less than we’d hoped, but also more than we could imagine, if we can only find something irreplaceable in our own tawdry, wandering lives. Be present, be grateful, and be kind. The world will take care of itself. Glamorous or not, all that is good in life is contained in the simplest cycles – in doing laundry and taxes with the people you love.
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Original content by wrongeverytime.com: “Seeking this Moment in Everything, Everywhere and All at Once”
Read the full article here https://wrongeverytime.com/2024/02/12/seeking-this-moment-in-everything-everywhere-all-at-once/