#oscars 2022

[kimitofutari]

Never getting over this outfit 🔥

[peachymetimmy]

🥵🥵

[silvyysthings]

I love them

[randomluck-ofthe-universe]

.. someone knew fuckin well what he was doing that night.. and someone was on fire that night...

together in the same place.. at the same time... and there was no way anyone could do anything to stop them.

the heart wants what the heart wants.. and fuck 'em all.

#oscars 2022 ❤️

[callmebyyournamephoto]

Timothée Chalamet on the red carpet of the 94th Oscars at the Dolby Theatre - March 27, 2022

[choupistickfaitdesbetises]

Oscars 2022… The day when the myth “They don't want to be in the same place at the same time because they hate each other.” fell.

Same place, same time, yes and same vibes too !

[world-of-celebs]

Jennifer Garner at the 94th Academy Awards held at Dolby Theatre at the Hollywood & Highland Center on March 27th, 2022 in Los Angeles, California.

[vanehudgnsxoxo]

My edits of Vanessa at the Oscars (2020-2025) and the 2022 Tony Awards

[thenarddogmeister]

Everything Everywhere All At Once. The Daniels. 2022.

I love this film and have watched it three times so far so it’s about time I wrote this review.

First of all, I think the main themes I see being explored in this film are the different outlooks/ philosophies a person can use to live in a world like this. Everything Everywhere is a daunting film to write about because it’s postmodern to the maximum, there’s so much to talk about. Firstly, the absolute hybrid of genres and intertextual references (ranging from Disney’s Ratatouille to Wong kar-wai’s In The Mood For Love) makes this a staple of post-modernism and reflects the chaos of the world we live in today. We have access to everything and we can see so many things (especially with the rise of social media) and just like this film proves, it can provide beauty but it can also cause chaos and destruction. The movie is beautiful in its variety of colours, creative costumes, and allowing Evelyn (Joy’s mother) to understand her daughter’s sexuality better by jumping to a universe where she is in a relationship with Jamie Lee Curtis’s Deadre. However, it is also immensely destructive as by having a surplus of meanings and universes, Joy finds that she feels now, nothing has any meaning and she can’t trust anything she sees because she has seen everything. To use a perfect quote from the film, “She no longer believes in an objective truth.”

The Daniels like to draw contradictions in the film to highlight this distrust we feel in our modern culture due to having access to so many juxtaposing “truths.” For example, they comically use phallic and yonic imagery to reinforce the binary opposite drawn between nihilism (nothing matters) and absurdism (represented by Waymond’s whimsy throughout the film). This imagery is funny when we see Joy fighting with large dildos but it also allows us fresh perspectives when Evelyn and Joy put their hands together to create a vaginal-like shape, allowing Evelyn to see what Joy sees. This juxtaposition of humour and deep understanding supports the theme throughout the film that in this culture of media oversaturation, we cannot find an objective truth or an objective way of living anymore. It’s all about choice. This is also inferred as Evelyn is seen at the beginning of the film choosing to either stick to her laundry and taxes or go into the mysterious janitor’s closet - at one point, the screen even explicitly cracks into two perspectives to anchor this idea of choice. 

Another part of the film that I love, is the soundtrack/score, which also expertly contributes to the point of the film, that we are all confused and scared in this overstimulating postmodern world. Clair de Lune is used as a musical motif throughout the film, which perfectly sums up the point the Daniels are trying to make. This is an old, classical song used in possibly the least classical movie ever, showing how we have access to content spanning over literal centuries (due to streaming platforms like spotify I can listen to the 1905’s Clair de Lune and seconds later listen to the 80’s She Goes Down by Motley Crue). This overwhelming level of choice can be beautiful as we can watch Everything Everywhere All At Once and hear the magnetic and majestic Clair de Lune but it can also create so much disillusionment and confusion as how do we decide what is true and how we should live when there are million and millions of contradicting answers to those questions out there. 

The last thing that needs to be mentioned is the motif of the Bagel. The bagel represents Joy’s nihilism. It sucks everything in and leaves nothing in its wake. Moreover, it is black which is what you get when you mix all the colours together, surplus resulting in nothingness. However, the room we see the bagel in is overwhelmingly white, which is what you get when all the colours of light are added  together. White has happier connotations like heaven and purity, adding to this idea that the same situation (all the colours added together) can be interpreted positively by us or negatively. Will we see the black-hole bagel or the googly eyes that Waymond leaves around the house? 

Lastly, I love the match cut at the end where Joy and Evelyn share a mother-daughter hug, which then transitions ,through this match cut, into planets colliding. It really anchors this point that we can either focus on the massive destruction in this world (planets colliding) or the intimate moments of love (the hug). And each is powerful. 

The theme of this movie is so masterfully explored in the film’s editing, sound, cinematography, genres, imagery etc and so in my opinion it might be a perfect film.

[peachymetimmy]

“Okay great”

Credit by @timotheechalamet_fann1 via TikTok

[silvyysthings]

[ahsfreak90]

Evan Peters at the Oscars in 2022 🔥

[randomluck-ofthe-universe]

okay..

BYE. 🔥🔥

[callmebyyournamephoto]

Timothee Chalamet and Warner Bros. Picture Group Chairman Toby Emmerich at the 94th Academy Awards on March 27th, 2022 in Los Angeles, California

[choupistickfaitdesbetises]

Tim, after party Oscars 2022

[sincericida]

Since someone mentioned the award season - I’m fairly certain if Andrew wasn’t met with Will Smith and Casey Affleck, he would have won his Oscar already. There’s something about his performance just aged well. I don’t know what it is like back in the days but all I can see now is nothing but praise for all of his performances.

Look dear, I have nothing against Will, but I didn’t think he’d win in 2022. I thought it would be between Benedict, Andrew or Denzel. Will has had fantastic performances like in "Ali" and "The Pursuit of Happyness " that I found better than "King Richard". I think we were robbed in 2022. I can’t talk about Casey without rolling my eyes, sorry.

Andrew’s performances remain as fresh as they were at the time. And in "Tick Tick BOOM!" he’s extraordinary and completely surrendered to his craft. It’s beautiful to watch.