Hard to remember the title. AND All at once, everywhere. The Oscar decided that it represents the best that cinema can offer today. And, probably, they must be convinced that its theme, its realization, keys that require complicity, also represent the future of an art that consists of telling stories with the camera, seriously ill for a long time. I tell my process with the film that fell in love with the great family of American cinema (or so they say, without a hint of hypocrisy, which is even worse), that Hollywood that still needs something more than the empty, ostentatious and repetitive Marvel to convince the audience to pay admission and return to the darkened room. But that’s unlikely to happen if the supposedly most enticing offering is mind-boggling, wildly imaginative nonsense, as burdensome to watch and listen to as that offered by this victorious, if ill-fated, film. Or whatever.

It took a lot of work for me to swallow it whole, to get to the end. In the name of professionalism. It had been released in theaters in June, but luckily I didn’t hear from it and its stay on the billboards must have lasted a sigh. Months later, I saw that Movistar was programming. And it was rumored to be wowing industry professionals and a sizable section of the public. I watched her for a while and couldn’t believe what I saw and heard. I didn’t understand what they were talking about, but I also didn’t find a shred of grace, interest, talent in their characters or in the situations they described. Everything was unbearable, tiring, absurd. I broke up with her, for the sake of my sanity. I returned to it in the following weeks. And on the third attempt I managed to reach the end. It was as silly as the beginning. He still didn’t know what he was talking about. But I never followed that advice that my dear Bob Dylan gave in a song: “Don’t criticize what you can’t understand”. If I don’t know what the story is about, it’s because I’m told badly or because there’s nothing to tell. I’m that simple, Manichaean or vain about my likes and dislikes, about my loves and my boredom.

Someone very patient insists on clarifying what the change is about All at once, everywhere. It deals with the metaverse, the multiverse, the alphaverse, virtual reality and I don’t know what else. All this is strange to me, although I am assured that it is in fashion, like so many strange things that govern the new and ungrateful world. The only real thing I understand is that this is a Chinese businesswoman living in New York, she is cruelly hounded by a perfidious tax inspector, and she doesn’t know how to reveal to her very traditional parents that their daughter is a lesbian. Also that he longs for a breather and to be a little happy. Well, okay.

But I review the films that competed with her to take the cake and discover that there are few that attract me the least. It is true and beautiful what Spielberg tells in The Fabelmans. There are attractive contortions and other things that I have in abundance Tar. The terrible war is well described in No news ahead. It’s a decent movie. The rest is formula, pretentious vanities, opportunism, boredom, political correctness.

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