The Oscars 2023 brought some unforgettable moments, and one of them was the win of Michelle Yeoh for Best Actress for her role in the movie the Daniels' Everything Everywhere All at Once. She has become the first Asian woman and the second woman of colour (after Halle Berry) to do so. Yeoh, who is known for her outstanding performances in movies like Crouching Tiger, Hidden Dragon and Memoirs of a Geisha, delivered yet another brilliant performance in the film, flawlessly portraying the complexities of her character, delivering a performance that was both subtle and powerful. Everything Everywhere All at Once, written and directed by Daniel Kwan and Daniel Scheinert, also stars Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, and Jamie Lee Curtis.

Also Read:<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2023-all-that-breathes-colin-farrell-and-other-snubs-and-surprises-571324"> Oscars 2023: All that Breathes, Colin Farrell, and other snubs and surprises</a>

Interestingly, Everything Everywhere All at Once won SIX other Oscars out of 11 nominations, including acting trophies for Quan and Curtis.

<h2>Michelle Yeoh: 'Dream big, and dreams do come true'</h2>

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Yeoh said in her acceptance speech, "For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibilities. This is proof that... dream big, and dreams do come true. And, ladies, don't let anybody tell you you are ever past your prime."

She added, "This is proof that dreams do come true. I have to dedicate this to all the moms in the world because they are the superheroes, and without them, none of us would be here tonight."

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The Oscars 2023 brought some unforgettable moments, and one of them was the win of Michelle Yeoh for Best Actress for her role in the movie the Daniels' Everything Everywhere All at Once.

The Oscars 2023 brought some unforgettable moments, and one of them was the win of Michelle Yeoh for Best Actress for her role in the movie the Daniels' Everything Everywhere All at Once. She has become the first Asian woman and the second woman of colour (after Halle Berry) to do so. Yeoh, who is known for her outstanding performances in movies like Crouching Tiger, Hidden Dragon and Memoirs of a Geisha, delivered yet another brilliant performance in the film, flawlessly portraying the complexities of her character, delivering a performance that was both subtle and powerful. Everything Everywhere All at Once, written and directed by Daniel Kwan and Daniel Scheinert, also stars Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, and Jamie Lee Curtis. Also Read: Oscars 2023: All that Breathes, Colin Farrell, and other snubs and surprises Interestingly, Everything Everywhere All at Once won SIX other Oscars out of 11 nominations, including acting trophies for Quan and Curtis. Michelle Yeoh: 'Dream big, and dreams do come true' Yeoh said in her acceptance speech, "For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibilities. This is proof that... dream big, and dreams do come true. And, ladies, don't let anybody tell you you are ever past your prime." She added, "This is proof that dreams do come true. I have to dedicate this to all the moms in the world because they are the superheroes, and without them, none of us would be here tonight." WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Oscars 2023: Michelle Yeoh wins Best Actress award, first Asian woman to do so

A24, the independent studio behind such films as Everything Everywhere All at Once and The Whale, is poised to dominate this year’s Academy Awards, eclipsing Hollywood’s established studios and awards-hungry streamers that are spending millions on Oscar campaigns.

Not since the heyday of Miramax in the 1990s has an independent studio garnered such attention, talent, and box office success, entertainment industry insiders say.

At a time when major Hollywood studios have taken refuge in the familiar, releasing sequels and rehashing old ideas, A24 is cementing a reputation for taking risks on original projects that other studios pass on -- including the frenetic, chaotic Everything Everywhere All at Once, which is its highest-grossing movie at $107.4 million globally.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-%E2%80%98everything-everywhere-all-at-once%E2%80%99-movie-review-this-michelle-yeoh-starrer-is-a-cinematic-miracle-516701">Everything Everywhere All At Once movie review: This Michelle Yeoh-starrer is a cinematic miracle</a>

“In this moment, they are not only the leading indie company, but they also have created a brand that probably resonates more with its customers than any other independent ever – more than Miramax,” said Picturehouse CEO Bob Berney, a well-regarded executive in the world of independent film. “Their biggest achievement is that they’ve created a super-cool brand that has a following.”

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nWiQodhMvz4" title="YouTube video player" width="560"></iframe>

This year, A24 will build on that momentum and lift its film, television, and documentary production by 30 per cent, according to a source familiar with the matter, riding the wave of industry acclaim and its 2022 box office success.

Forthcoming releases this year include the love story Past Lives, which screened to a rapturous critical reception at the Berlin film festival; the dark comedy series Beef for Netflix, in which Ali Wong and Steven Yeun portray two strangers whose lives collide in a road-rage episode; and the Steph Curry documentary Underrated for Apple TV+.

“It’s very much a dream studio, because they make movies that feel so auteur-focused,” said playwright and Past Lives director Celine Song, who said that the studio enables first-time directors like herself to “speak in their own voice.”

Also Read:<a href="https://www.wionews.com/entertainment/hollywood/news-the-whale-movie-review-brendan-fraser-delivers-the-performance-of-a-lifetime-558525">&nbsp;The Whale movie review: Brendan Fraser delivers the performance of a lifetime</a>

The New York-based company founded by three film executives -- Daniel Katz, David Fenkel and John Hodges, who has since departed -- got its start in 2012 distributing such films as Spring Breakers. Some of its box office success has come from the horror genre, with such critically acclaimed films as Hereditary and Midsommar. It earned a reputation as a Hollywood tastemaker with such director-driven projects as Lady Bird, Moonlight and Uncut Gems.

This year, A24 garnered 18 Academy Award nominations across six films, ranking second only to the giant Walt Disney Co. It collected its first nods for best animated feature, Marcel the Shell With Shoes On; best foreign film, Close; and outstanding makeup and hairstyling, The Whale. Eight performers received first-time acting nominations, including the leading contenders for best actress, Michelle Yeoh, and supporting actor, Ke Huy Quan, both of whom appear in Everything Everywhere All at Once.

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A spokesman for A24 declined to comment.

The first film A24 produced and financed, together with Brad Pitt’s Plan B Entertainment, was Moonlight, which won the Oscar for best picture in 2017. The studio has garnered 53 Oscar nominations in less than a decade, including best picture nods for Lady Bird, Minari and Room.

A24's film slate has grown at the pace of its cash flow - starting with three movies in 2016 to 15 in 2022. Midway through the global lockdown, it resumed movie making using its in-house production capabilities. This year, it’s on track to produce about 15 films for theatrical release, eight documentaries and 10 television shows.

The studio’s frugal use of capital -- A24’s film budgets range from $5 million to $50 million -- give it the flexibility to take more creative swings, according to the source close to the studio.

“They are willing to take risks and take chances on filmmakers and on stories that other people might not be,” said Claudette Godfrey, vice president of film and television for the SXSW festival, “I think that is what makes it interesting and I think that's why we ended up kind of aligning with them.”

The studio, which now employs 200 people working in New York, Los Angeles and London, eschews traditional movie marketing campaigns in favor of digital promotions, like the rubber “hot dog fingers” and googly eyes from Everything Everywhere All at Once that took TikTok by storm.

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A24's financial success at the box office has allowed it to expand its creative portfolio.

About nine years ago, it began producing television shows in addition to films, winning critical praise for Hulu's Ramy, a comedy series centered around a first-generation American Muslim, and HBO’s Emmy-winning drama series Euphoria.

The studio is developing shows for several streaming services and television networks, including a pair of HBO series: The Sympathizer, a $100 million television adaptation of Viet Thanh Nguyen’s Pulitzer Prize-winning novel starring Robert Downey Jr., and The Idol from the creators of Euphoria and The Weeknd.

It's also developing Sunny, a thriller for Apple TV+ starring Rashida Jones and Hidetoshi Nishijima.

The global reach of the streaming platforms, together with an infusion of $225 million from investors including Stripes and Neuberger Berman, on behalf of client funds, serve to fan A24's ambitions, as it ramps up production and expands into new genres.

“A24 has over time developed a well-earned reputation as a powerful force in the world of independent cinema,” said Comscore senior media analyst Paul Dergarabedian, “whose name has come to represent quality awards-caliber filmed entertainment and now ranks among the most influential and respected purveyors of quality cinema with both filmmakers and audiences.”

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A24, the independent studio behind such films as Everything Everywhere All at Once and The Whale, is poised to dominate this year’s Academy Awards, eclipsing Hollywood’s established studios and awards-hungry streamers that are spending millions on Oscar campaigns.

A24, the independent studio behind such films as Everything Everywhere All at Once and The Whale, is poised to dominate this year’s Academy Awards, eclipsing Hollywood’s established studios and awards-hungry streamers that are spending millions on Oscar campaigns. Not since the heyday of Miramax in the 1990s has an independent studio garnered such attention, talent, and box office success, entertainment industry insiders say. At a time when major Hollywood studios have taken refuge in the familiar, releasing sequels and rehashing old ideas, A24 is cementing a reputation for taking risks on original projects that other studios pass on -- including the frenetic, chaotic Everything Everywhere All at Once, which is its highest-grossing movie at $107.4 million globally. Also Read: Everything Everywhere All At Once movie review: This Michelle Yeoh-starrer is a cinematic miracle “In this moment, they are not only the leading indie company, but they also have created a brand that probably resonates more with its customers than any other independent ever – more than Miramax,” said Picturehouse CEO Bob Berney, a well-regarded executive in the world of independent film. “Their biggest achievement is that they’ve created a super-cool brand that has a following.” This year, A24 will build on that momentum and lift its film, television, and documentary production by 30 per cent, according to a source familiar with the matter, riding the wave of industry acclaim and its 2022 box office success. Forthcoming releases this year include the love story Past Lives, which screened to a rapturous critical reception at the Berlin film festival; the dark comedy series Beef for Netflix, in which Ali Wong and Steven Yeun portray two strangers whose lives collide in a road-rage episode; and the Steph Curry documentary Underrated for Apple TV+. “It’s very much a dream studio, because they make movies that feel so auteur-focused,” said playwright and Past Lives director Celine Song, who said that the studio enables first-time directors like herself to “speak in their own voice.” Also Read: The Whale movie review: Brendan Fraser delivers the performance of a lifetime The New York-based company founded by three film executives -- Daniel Katz, David Fenkel and John Hodges, who has since departed -- got its start in 2012 distributing such films as Spring Breakers. Some of its box office success has come from the horror genre, with such critically acclaimed films as Hereditary and Midsommar. It earned a reputation as a Hollywood tastemaker with such director-driven projects as Lady Bird, Moonlight and Uncut Gems. This year, A24 garnered 18 Academy Award nominations across six films, ranking second only to the giant Walt Disney Co. It collected its first nods for best animated feature, Marcel the Shell With Shoes On; best foreign film, Close; and outstanding makeup and hairstyling, The Whale. Eight performers received first-time acting nominations, including the leading contenders for best actress, Michelle Yeoh, and supporting actor, Ke Huy Quan, both of whom appear in Everything Everywhere All at Once. A spokesman for A24 declined to comment. The first film A24 produced and financed, together with Brad Pitt’s Plan B Entertainment, was Moonlight, which won the Oscar for best picture in 2017. The studio has garnered 53 Oscar nominations in less than a decade, including best picture nods for Lady Bird, Minari and Room. A24's film slate has grown at the pace of its cash flow - starting with three movies in 2016 to 15 in 2022. Midway through the global lockdown, it resumed movie making using its in-house production capabilities. This year, it’s on track to produce about 15 films for theatrical release, eight documentaries and 10 television shows. The studio’s frugal use of capital -- A24’s film budgets range from $5 million to $50 million -- give it the flexibility to take more creative swings, according to the source close to the studio. “They are willing to take risks and take chances on filmmakers and on stories that other people might not be,” said Claudette Godfrey, vice president of film and television for the SXSW festival, “I think that is what makes it interesting and I think that's why we ended up kind of aligning with them.” The studio, which now employs 200 people working in New York, Los Angeles and London, eschews traditional movie marketing campaigns in favor of digital promotions, like the rubber “hot dog fingers” and googly eyes from Everything Everywhere All at Once that took TikTok by storm. A24's financial success at the box office has allowed it to expand its creative portfolio. About nine years ago, it began producing television shows in addition to films, winning critical praise for Hulu's Ramy, a comedy series centered around a first-generation American Muslim, and HBO’s Emmy-winning drama series Euphoria. The studio is developing shows for several streaming services and television networks, including a pair of HBO series: The Sympathizer, a $100 million television adaptation of Viet Thanh Nguyen’s Pulitzer Prize-winning novel starring Robert Downey Jr., and The Idol from the creators of Euphoria and The Weeknd. It's also developing Sunny, a thriller for Apple TV+ starring Rashida Jones and Hidetoshi Nishijima. The global reach of the streaming platforms, together with an infusion of $225 million from investors including Stripes and Neuberger Berman, on behalf of client funds, serve to fan A24's ambitions, as it ramps up production and expands into new genres. “A24 has over time developed a well-earned reputation as a powerful force in the world of independent cinema,” said Comscore senior media analyst Paul Dergarabedian, “whose name has come to represent quality awards-caliber filmed entertainment and now ranks among the most influential and respected purveyors of quality cinema with both filmmakers and audiences.” WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Oscars 2023: Everything Everywhere All at Once studio A24 poised to dominate?

I hadn’t seen any film by the Daniels before I set my eyes upon Everything Everywhere All at Once. I resisted the urge to watch it because I am always suspicious of the initial hoopla that surrounds certain movies before they almost inevitably escape popular imagination. But with Everything Everywhere All at Once (EEAAO from now on), the hoopla only increased in volume until everybody was talking about this indie movie that was not indie anymore — in terms of box office numbers, that is. The film stars Michelle Yeoh as a harried Chinese immigrant woman called Evelyn Quran Wang whose overwrought life women in India and I imagine many other places in the world would empathise with. She lives with a fractious teenage daughter Joy Wang (Stephanie Hsu), and a meek husband Waymond Wang (Ke Huy Quan).&nbsp;

<h2>Eleven Oscar nominations!</h2>

Everything Everywhere All at Once has 11 nominations, including the major categories like Best Picture, Best Director, Best Actress, and Best Supporting Actor. The film will likely not do a Return of the King — the conclusion to Peter Jackson's The Lord of the Rings trilogy that clinched 11 trophies out of 11 nominations at the 76th Academy Awards. But if it wins in either of the three major categories, and it might likely win in two, it will end up with at least four or five trophies — not bad for a supposedly indie movie.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-%E2%80%98everything-everywhere-all-at-once%E2%80%99-movie-review-this-michelle-yeoh-starrer-is-a-cinematic-miracle-516701">Everything Everywhere All At Once&nbsp;movie review: This Michelle Yeoh-starrer is a cinematic miracle</a>

<h2>What made Everything Everywhere All at Once so special?</h2>

Yeoh’s casting in&nbsp;EEAAO was both inspired and ridiculous, I thought. Inspired because, well, she has been a fantastic performer for decades now. And absurd because despite her drab clothing, she nevertheless managed to look luminous and did not really fit in with this working-class-unfashionable-woman part. It did, however, fit with the film’s increasingly absurdist tone.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-awards-2023-best-picture-nominee-can-avatar-2-win-the-trophy-568604">Oscars Awards 2023 Best Picture nominee: Can Avatar 2 win the trophy?</a>

Evelyn runs a laundrette and is in trouble with the IRS. Her daughter wants her to accept her girlfriend who Evelyn refuses to see as anything but her friend. Her husband is trying to serve divorce papers to her, a preemptive attack before she can do that. And her formidable father (James Hong), against whose wishes she eloped with Waymond and came to America, is coming to visit her for the Lunar Year Party. Oh, and she has to regularly visit the IRS office and face the dead-eyed gaze of inspector Deirdre Beaubeirdre (a brilliantly bureaucratic Jamie Lee Curtis).

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In short, Evelyn’s life, it would seem, could not get any crazier. But it does. She is told by an alt-universe version of her husband, who possesses her universe’s Waymond using advanced technology from his universe, and tells her that her universe is just one among an infinite number of parallel universes, and that every life choice, no matter how small, creates a new reality, diverting the course of events significantly.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2023-best-picture-nominee-will-baz-luhrmanns-unconventional--biopicelvis-create-history-568196">Oscars 2023 Best Picture nominee: Will Baz Luhrmann's unconventional biopic Elvis create history?</a>

The multiverse, says alt-Waymond, is in peril because of an evil entity called Jobu Tupaki, and Evelyn is the last hope of all living beings on earth. For Tupaki experiences every reality all at once, can manipulate matter, and has plans to erase every reality from existence.

At this point, you would think the film will turn into a race against time to save the multiverse from the supervillain. It is what most movies of this kind do, after all. But no. EEAAO is a lot smarter than that. It riffs on everything from The Matrix to Ratatouille to Hong Kong martial arts movies, and remains endlessly fresh and inventive. It embraces the gloriously bonkers side of the multiverse, exploring horizons most films delving into similar ideas can barely touch. The two hour and twenty minutes of screen time, which would usually be intimidating, zips past.&nbsp;

<h2>Michelle Yeoh gives a superb performance</h2>

Yeoh is in almost every frame of the movie, and a good thing too. For she is indescribably good — portraying the pain, confusion, exhaustion, and other moods with a veteran's ease. Stephanie Hsu, who plays her daughter Joy, also impresses, sporting different, gonzo outfits in nearly every other scene to exhibit her queerness. Ke Huy Quan is endearing as a timid but kind husband, who, lacking the hand-to-hand combat skills of his alt-universe counterpart, relies on his determination and genial, inoffensive personality to disarm people and get things done. This is&nbsp;the mother of all comebacks.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-awards-2023-best-picture-nominee-what-made-top-gun-maverick-a-favourite-with-the-jury-567649">Oscars Awards 2023 Best Picture nominee: What made Top Gun: Maverick a favourite with the jury?</a>

The themes, admittedly, are somewhat simplistic: generational divide, family values, acceptance, and nihilism. Nothing you have not seen before. But you would be an odd person if you actually pause to examine the thematic depth of this wonderful film. To paraphrase Stephen Fry's words about PG Wodehouse's novels, you do not analyse such sunlit perfection, you just bask in its splendour.&nbsp;

Everything Everywhere All At Once is an absolute blast and should take the Best Picture Oscar.

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I hadn’t seen any film by the Daniels before I set my eyes upon Everything Everywhere All at Once. I resisted the urge to watch it because I am always suspicious of the initial hoopla that surrounds certain movies before they almost inevitably escape popular imagination.

I hadn’t seen any film by the Daniels before I set my eyes upon Everything Everywhere All at Once. I resisted the urge to watch it because I am always suspicious of the initial hoopla that surrounds certain movies before they almost inevitably escape popular imagination. But with Everything Everywhere All at Once (EEAAO from now on), the hoopla only increased in volume until everybody was talking about this indie movie that was not indie anymore — in terms of box office numbers, that is. The film stars Michelle Yeoh as a harried Chinese immigrant woman called Evelyn Quran Wang whose overwrought life women in India and I imagine many other places in the world would empathise with. She lives with a fractious teenage daughter Joy Wang (Stephanie Hsu), and a meek husband Waymond Wang (Ke Huy Quan). Eleven Oscar nominations! Everything Everywhere All at Once has 11 nominations, including the major categories like Best Picture, Best Director, Best Actress, and Best Supporting Actor. The film will likely not do a Return of the King — the conclusion to Peter Jackson's The Lord of the Rings trilogy that clinched 11 trophies out of 11 nominations at the 76th Academy Awards. But if it wins in either of the three major categories, and it might likely win in two, it will end up with at least four or five trophies — not bad for a supposedly indie movie. Also Read: Everything Everywhere All At Once movie review: This Michelle Yeoh-starrer is a cinematic miracle What made Everything Everywhere All at Once so special? Yeoh’s casting in EEAAO was both inspired and ridiculous, I thought. Inspired because, well, she has been a fantastic performer for decades now. And absurd because despite her drab clothing, she nevertheless managed to look luminous and did not really fit in with this working-class-unfashionable-woman part. It did, however, fit with the film’s increasingly absurdist tone. Also Read: Oscars Awards 2023 Best Picture nominee: Can Avatar 2 win the trophy? Evelyn runs a laundrette and is in trouble with the IRS. Her daughter wants her to accept her girlfriend who Evelyn refuses to see as anything but her friend. Her husband is trying to serve divorce papers to her, a preemptive attack before she can do that. And her formidable father (James Hong), against whose wishes she eloped with Waymond and came to America, is coming to visit her for the Lunar Year Party. Oh, and she has to regularly visit the IRS office and face the dead-eyed gaze of inspector Deirdre Beaubeirdre (a brilliantly bureaucratic Jamie Lee Curtis). In short, Evelyn’s life, it would seem, could not get any crazier. But it does. She is told by an alt-universe version of her husband, who possesses her universe’s Waymond using advanced technology from his universe, and tells her that her universe is just one among an infinite number of parallel universes, and that every life choice, no matter how small, creates a new reality, diverting the course of events significantly. Also Read: Oscars 2023 Best Picture nominee: Will Baz Luhrmann's unconventional biopic Elvis create history? The multiverse, says alt-Waymond, is in peril because of an evil entity called Jobu Tupaki, and Evelyn is the last hope of all living beings on earth. For Tupaki experiences every reality all at once, can manipulate matter, and has plans to erase every reality from existence. At this point, you would think the film will turn into a race against time to save the multiverse from the supervillain. It is what most movies of this kind do, after all. But no. EEAAO is a lot smarter than that. It riffs on everything from The Matrix to Ratatouille to Hong Kong martial arts movies, and remains endlessly fresh and inventive. It embraces the gloriously bonkers side of the multiverse, exploring horizons most films delving into similar ideas can barely touch. The two hour and twenty minutes of screen time, which would usually be intimidating, zips past. Michelle Yeoh gives a superb performance Yeoh is in almost every frame of the movie, and a good thing too. For she is indescribably good — portraying the pain, confusion, exhaustion, and other moods with a veteran's ease. Stephanie Hsu, who plays her daughter Joy, also impresses, sporting different, gonzo outfits in nearly every other scene to exhibit her queerness. Ke Huy Quan is endearing as a timid but kind husband, who, lacking the hand-to-hand combat skills of his alt-universe counterpart, relies on his determination and genial, inoffensive personality to disarm people and get things done. This is the mother of all comebacks. Also Read: Oscars Awards 2023 Best Picture nominee: What made Top Gun: Maverick a favourite with the jury? The themes, admittedly, are somewhat simplistic: generational divide, family values, acceptance, and nihilism. Nothing you have not seen before. But you would be an odd person if you actually pause to examine the thematic depth of this wonderful film. To paraphrase Stephen Fry's words about PG Wodehouse's novels, you do not analyse such sunlit perfection, you just bask in its splendour. Everything Everywhere All At Once is an absolute blast and should take the Best Picture Oscar. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Oscars 2023 Best Picture: Why Everything Everywhere All at Once should win

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