NOTE: This article is a republication- Source: Vogue (by Sarah Crompton).
By the time Everything Everywhere All at Once won the Oscar for best picture, it was almost an anticlimax. A film originally seen as a screwball indie outsider had become an awards powerhouse. It took seven of the 11 Oscars it was nominated for—making history in the process.
Michelle Yeoh became the first Asian actor and only the second woman of color to pick up the best actress statuette, inching out the early favorite Cate Blanchett and, as she did so, making Everything Everywhere only the third movie after A Streetcar Named Desire and Network to take three out of the four acting awards.
Directors Daniel Kwan and Daniel Scheinert—collectively known as the Daniels—took the Best Director award over luminaries such as Steven Spielberg (whose heartfelt The Fabelmans, about his own childhood, went home empty-handed), and thus became only the third directing duo in Oscar history to win the prize, after Robert Wise and Jerome Robbins for West Side Story and the Coen brothers for No Country for Old Men.
They also won best original screenplay for their zany multiverse comedy, making it a cold night for the early favorite Martin McDonagh’s The Banshees of Inisherin, which failed to win any of the nine Oscars for which it was nominated. Baz Luhrmann’s Elvis also drew a blank in eight categories. Only the German-language war epic All Quiet on the Western Front could rival the success of Everything Everywhere; it took home four Oscars, including best cinematography for the quietly spoken and slightly dazed Brit James Friend.
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