Wednesday, February 8, 2023

Postmodernism in Film (Everthing Everywhere All At Once (2022))

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Self-reflexivity

In the “movie star” universe, Evelyn’s life resembles that of Michelle Yeoh herself, complete with red carpet events, adding a layer of self-reflexivity where the character’s fictional life merges with the actor's real-world persona.

Intertextuality

We can see that Evelyn’s life in the multiverse recalls iconic scenes from films like The Matrix and Ratatouille, embracing intertextuality—a key aspect of postmodernism that destabilizes original meaning by connecting various texts.

Pastiche

A humorous, almost absurdist pastiche is evident in the hot dog fingers universe, where humans have hot dogs instead of fingers, channeling absurdist cinema's bizarre, offbeat humor. This world’s surreal visual is a satirical nod to how multiverses can distort reality beyond comprehension. 

Dark Humour

An example is the scene where Evelyn fights a police officer who is half-naked at the bottom, the item that can help Evelyn switch to another universe is the butt plug, which the officer uses when he jumps and sits on it as he lands. 

Skepticism of grand narratives

Evelyn’s journey illustrates that there's no single "true" version of a person’s life; each life choice she ever made opens up radically different pathways, leading to an endless series of possible existences. 

Relativism

By juxtaposing universes where Evelyn is a celebrated chef, a martial arts master, or even a rock, the film suggests that each reality, no matter how small or insignificant, holds weight within its own context. 

Irony and parody

In a confrontation with her daughter Joy, Evelyn eventually acknowledges her own failings. This acknowledgment is ironic because, despite the cosmic scale of her adventure, her journey ultimately boils down to a basic need for reconciliation and love within her family — far simpler and more profound than any multiversal crisis

Another scene that parodies classic martial arts tropes is the “fanny pack fight,” where Waymond, Evelyn’s husband, uses an everyday item as a weapon, mirroring but mocking martial arts movies where objects like broomsticks are used in elaborate fight choreography.

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