It’s not all about caped crusaders: the Oscar-winning live action film Everything Everywhere All at Once uses the same trick. It also took centre stage in last year’s Doctor Strange in the Multiverse of Madness and in the latest superhero blockbuster, The Flash. The multiverse is a cinematic plot device that came into its own with Into the Spider-Verse.
The Mexican director was so taken with the technique that he declared in June: “I only want to do animation.” Across the Spider-Verse is also a testament to the democratisation of film-making among the 1,000 people who contributed was a 14-year-old whose animated Lego characters made it into the final cut. Guillermo del Toro’s remake of Pinocchio as a dark animated musical won this year’s Oscar. First, it entrenches animation as a coming cinematic form – expanding beyond studios such as the child-friendly Pixar and the ethereal output of Studio Ghibli. The movie is also rewriting the script in Hollywood. One of the film’s themes, spread over two hours of dazzling artwork, is how identity is a constant negotiation of race, class, nationality and gender. The main character is African‑Latino Spider-Man, Miles Morales Gwen Stacy’s Spidey endorses trans rights there’s an Indian Spider‑Man with an anti‑colonial outlook living in a Mumbai‑Manhattan hybrid and a pregnant biker Spider‑Woman.
The animated movie, a sequel to 2018’s Oscar‑winning Into the Spider‑Verse, bounces around different universes meeting socially aware, racially diverse superheroes. Such sentiment has been vanquished by the success of Spider-Man: Across the Spider‑Verse, which is currently the biggest film in the US, grossing more than half a billion dollars worldwide in a month.
“Go woke, go broke!” encapsulates the schadenfreude that rightwing culture warriors express when art forms that embrace progressive ideals fail commercially.
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