By the end she embraces these manifold states of being, which echo and intensify what W.E.B. Evelyn begins the film confined by code-switching: balancing her commitments to a teenage daughter she can’t understand, a husband asking for a divorce just so he can get a little attention, a struggling business and a traditional Chinese father whom she is always placating. There’s a kind of hot-dog philosophy here, an insistence on quirkiness as a stay against the claustrophobia of pessimism.
It takes a kind of plasticity: to recognize that humanity is at once goofy and transcendent, that there can be beauty in a dysfunctional world, that clumsy hot-dog-fingered people can play an exquisite “Clair de Lune” on the piano with their toes. “Everything Everywhere” is about trying to figure out a response to an onslaught of hate, vengeance, resentment and persecution.
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It’s as if the wild ride is meant to shake us free from habits of thought, to nudge us to, in the scholar Kandice Chuh’s phrase, “imagine otherwise.” As a result, instead of locking down its subjects, as stereotypes are wont to do, the film uses its multiversal divagations to imagine alternative lives and versions of them. Evelyn gets cast and recast, insisting on the connections among multiple personas: the engrossed businesswoman, the kung fu master, the exhausted wife, the chanteuse, the tiger mom, the filial-and-failed daughter, the gifted mind-traveler and more. The protagonist, Evelyn Wang (Michelle Yeoh), pushes back with a vengeance against the narrative paucity of the same old stories we tell about Asian American lives. The film invokes, individualizes, multiplies, takes apart and then wackily reassembles these enduring tropes. The Daniels draw from a long history of Asians in America and notable Asian American issues, from the Wang family’s laundromat (recalling the long, exclusionary history of Chinese immigrant labor) to the Western romance with kung fu mysticism to the “model minority” myth to the figure of the tiger mother. Asian American concerns operate as more than an ethnic detail in “Everything Everywhere” they are the engines for the wild energies in the film.
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