Everything Everywhere All at Once (2022)

There has been a reckoning in the entertainment industry as of late, a call for more representation and inclusive storytelling that has led to films like Everything Everywhere All At Once and CODA finding greater box office success than they might have had a decade ago. In the midst of cries for justice and visibility, the intentionality of creatives and their work is becoming more crucial than ever before. And this intentionality begins with the storytellers themselves - writers. What better way to examine the state of the industry than by looking at the diversity programming at the Austin Film Festival, which has been deemed...

Every year at the end of October, the Austin Film Festival brings writers together for a week of films and panels, giving new storytellers a chance to learn from seasoned ones. The programmers bring in industry professionals from across the board - TV writers, producers, managers, playwrights, podcast hosts, indie filmmakers and, of course, lots of screenwriters. These experts range from staff writers with just a few years of experience under their belt to Oscar-nominated, even Oscar-winning artists. AFF is one of the few places where you can network laterally, getting acquainted with people who are just coming up at your level, and just happen to find yourself sitting in the same theater as Dustin Hoffman.

This was my eighth year attending the festival and I still have not gotten it down to a science because there is so much to keep up with over the course of the week. Due to the abundance of programing, there are often blocks where I have to decide between three different panels that I’d like to attend. A good problem to have, for sure. Thus, while I cannot give an exhaustive review of the entire event, I would like to highlight a few of the panels and films I attended that spoke to the importance of diverse storytelling.

Welcome to the first episode of the Incluvie Movie Highlights! We shine a spotlight on our favorite new movies that stand out for diversity and identity. Is Everything Everywhere All at Once too weird, or just the right amount of weird? How is it so revolutionary to see a science fiction film star Asian Americans? CODA - is it good or bad for deaf representation? Why do Serena and Venus not star in a movie about their own lives in King Richard? Is Marry Me too cheesy for a romantic comedy? We get into this and more!

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