AT All at once everywhereDaniel Kwan and Daniel Scheinert, the multiverse is real. But not in the form of a theory, fear, announcement or even a hint. In fact, in this magnificent chaos, time unfolds, multiplies and mixes, creating not one, but dozens of alternate realities. It spins in all directions with fragments of stories that make up a risky and triumphant fractal of genres.
If time travel has become commonplace in recent years – especially thanks to Marvel – cinema has trouble deconstructing it. But this film, defying any conventions, not only makes great promises, but also shows how cinema can actually perceive reality. All at once everywhere realizes that the multiverse is still—or was—a word. Therefore, the directorial duo set out to create a visual and narrative journey in which the multiplicity of time could be real. Do this also by presenting the film as a scenario in which hundreds of different situations can arise. Move forward, be bright and strong.
Of course, at its wildest moments, the film borders on being incomprehensible, or at least incoherent. He goes back and forth through the heroic goal – again, the world must be saved – but the focus of the script is not the hero. It’s really a matter of time breaking into hundreds of pieces that need to be brought together and reunited. All at once everywhere realizes that it competes with giant franchises.
Or at best, with established offerings that scrutinize time. So it goes to the opposite extreme. All at once everywhere it doesn’t need immediate contextualization to be plausible. It also does not develop a sense of timing and a set of rules for functioning. For directors known in the film world as Daniels, this is a fundamental fact. If the multiverse is real, what can we do for it? how to pass it?
Satisfied and answered questions All at once everywhere Your journey into the infinity of possibilities begins. And what is even better, a thick support from metaphysics, pseudoscience and philosophy is added. But he does this not to justify his premise—he doesn’t need to—but to make it more reliable, firm, and flexible. For the second part, the film should allow time to move forward and build its script in the direction of whirlwind of plot twists. And that’s when he finds his center point. A centrifuge in which Michelle Yeoh is the glorious center of a story that glides along the edge of reality. In which time is subverted and the very essence of the cinematic is questioned.
All at once everywhere that time asks, time has
Of course, as with any good premise, a great hero is needed. And Michelle Yeoh not only is, but also uplifts the perception of the moral hero. It happens in hundreds of different scenarios, moments, situations and narratives. As it moves steadily through seemingly traditional themes like love, isolation, and the bonds that bind us to those we love. But this great universality is a useful plane for analyzing the theme of the passage of history. and let the plot flow. Yoe more than once acts as a reference point in the middle of the universe, which is collapsing around him.
His Evelyn Wang is a seemingly simple character who suddenly has as many layers as the multiverse she has to travel through. In the midst of her lowly work as a migrant and wife, she also struggles with her daughter’s sexuality and even questions about the future. First minutes All at once everywhere they don’t make it clear where the film is going. And the quality of the narration that passes through the layer of everyday life and then jumps to the cosmic layer is fascinating. Because as soon as Evelyn begins to sort through all the possibilities, all the facts, all the times, she will become a rudder into the future. Or maybe the past? Temporary break in All at once everywhere it’s extreme, funny, sometimes confusing.
But where Doctor Strange in the multiverse of madness Sam Raimi fails, the film manages to deepen and fix the blandness. The multiverse has the same power as Evelyn’s mundane reality, and the persistence of a force – mystical – that threatens its existence. The quality of travel between realities is real insofar as it precedes any perception of logic. But in the course of the reasoning, it is much more obvious and noticeable that the film is in search of an ambitious and sophisticated goal. Understand that the substance of reality is cinematic? – much more extensive, more consistent and strange than one might imagine.
A journey through reality is ultimately a journey to the heart.
All at once everywhere she is more ambitious than her resources allow. At some points, it becomes clear that Daniels had the guts, guts, and steady hand that other proposals lacked. But not always the script accompanies them.. However, the visual spectacle is so grand that its minor flaws pale in comparison. As settings change, images and themes change.
And the directorial duo finds a way to tie Everlyn to her family problems through an unusual mission. One that goes beyond the usual thread, the visible face of a collection of eccentric stories. Or even just the power behind the fight between good and evil. In fact, this is the heart of the film, and this is its strongest point. One of many, in the middle of a scenario in which reality is rendered irrelevant in favor of the perception of the future. probably what to do All at once everywhere part of the history of cinema.
Source: Hiper Textual
