“Everything Everywhere All At Once” continued its awards sweep at the Film Independent Spirit Awards on its path to the Oscars next weekend. The multiverse-hopping adventure collected awards for best picture, directors Daniel Kwan and Daniel Scheinert, actors Michelle Yeoh, Ke Huy Quan and Stephanie Hsu, screenplay and editing.
Minhaj went hard on everything, from the entertainment trade website Deadline (“At this point, Deadline is half gossip, half Ezra Miller crime tracker,” he said) to the show’s lack of a broadcast partner.
The first prize of the afternoon went to Quan for best supporting actor for “Everything Everywhere All At Once,” which his co-star Jamie Lee Curtis was also nominated for. This is the first year the Spirit Awards embraced gender neutral acting awards – both lead and supporting performance categories had 10 nominees. Quan, who is expected to win the supporting actor Oscar next week, chose to devote his speech to many of the crew who worked on the film, from the stunt coordinators to the production assistants.
“This is my first ever individual award and it feels incredibly appropriate that it’s in this room. I feel so honored” she said. “I really want to thank the Daniels so much. Thank you so much for finding me and believing in my art and seeing me and championing me.”
“It would take me the entire day to fully express my gratitude to Nan for her collaboration and for her trust,” Poitras said. “She’s taught me so many things in making this film, most importantly the role of art and artists to change not only society but how we understand the world we live in.”
“Women Talking” was previously announced as winner of the Robert Altman Award, celebrating director Sarah Polley, casting directors John Buchan and Jason Knight, and the ensemble cast including Jessie Buckley, Rooney Mara, Claire Foy, Ben Whishaw and Frances McDormand.
Other winners included “Joyland” (best international film), “The Bear” (new scripted series and supporting actor Ayo Edebiri), “The Cathedral” (The John Cassavetes Award), John Patton Ford (first screenplay for “Emily the Criminal”) and “Tár” cinematographer Florian Hoffmeister.
“We are in the middle of an identity crisis, the industry at large is confused as to what’s happening next and it’s really scary especially for the independent world, but I want to offer up a reframe: This is an opportunity,” Kwan said.
“When things are shaking and it gets turbulent and cracks form in the foundation, that’s the best time to plant seeds. It is our job not just to adapt to the future but also to actively dream up what kind of future we want to rewrite and what kind of future we want to be working and living in,” Kwan continued. I urge us all to dream really big. What we do here is going to flow upstream to the rest of the industry.”
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