“Everything Everywhere All at Once,” directed, written, and co-produced by Daniel Kwan and Daniel Scheinert, known collectively as the Daniels, was the big winner of the evening. The film earned seven Academy Awards including Best Picture, Best Director, Best Editing, Best Original Screenplay, and three of the top four acting categories. The great nihilistic multiverse, family drama, kung fu action sequences, death and taxes, a laundromat and bagels, combined with an exhausted protagonist. It is hard to define the big-hearted action drama “Everything Everywhere All at Once” but audiences and jurors all agree—it’s a hit! Cinematographer on the film, Larkin Seiple, chose to shoot “Everything Everywhere All at Once” on the ALEXA Mini camera. ARRI Master Prime lenses were used for the rock universe scenes and ARRI SkyPanels were also on set to create 4x20-feet walls of light.

Copyright © Michael Yada / ©A.M.P.A.S.

Oscar winners for “Everything Everywhere All at Once” backstage

Out of the ten films nominated by the Academy for Best Picture, seven of them were captured, at least partially, on ARRI cameras, with large format still dominating. Three were also up for Best Cinematography: “All Quiet on the Western Front,” “Elvis,” and “TÁR.” Other Best Picture contenders included Martin McDonagh’s “The Banshees of Inisherin,” lensed by Ben Davis BSC with ALEXA Mini LF and ARRI Signature Primes. Earlier this year, “Banshees” was awarded with “Outstanding British Film” at the BAFTAs and was nominated for nine Academy Awards. Stephen Spielberg’s “The Fabelmans” utilized a variety of analog cameras including the ARRIFLEX 16S, ARRIFLEX 416 under the watchful eye of DP Janusz Kaminski. Palme d’Or winner at the 2022 Cannes Film Festival, “Triangle of Sadness,” was directed by Ruben Östlund and shot by cinematographer Fredrik Wenzel on the ALEXA LF.