The Five-Elements-Theory & "Everything, Everywhere, All At Once"

Image Description: A visually confusing miasma of a film poster for Everything, Everywhere, All At Once.

For this article, I will examine the colors present in the 2022 film Everything, Everywhere, All at Once. By looking at the colors in this film and their meanings according to traditional Chinese color theory, we see more meaningful and interconnected characters and how the film is an encouragement to take costume design more seriously as an art form.

Background

But first, some background is necessary on Chinese color theory and Yin Yang ideology. As Lee puts it, “the Five-Elements-Theory discusses the harmonious relations and interactions of heaven, earth, and humans” and that “its applications reach into all aspects of daily life.” The theory declares that there are five basic elements and five elementary colors, carrying their own corresponding colors, cardinal directions, personal characteristics, shapes, flavors, and temperatures. The elements are interconnected in a cycle of mutual production and destruction.

In order of positive influence, they include Red Fire, Yellow Earth, White Metal, Black Water, Cyan Wood and, in order of negative influence: Red Fire, White Metal, Cyan Wood, Yellow Earth, and Black Water. While this system can be drawn one-dimensionally, a third dimension must be utilized when including Yin and Yang, adding gendered connotations (Lee, 197).

But why should the colors in this movie matter? My argument posits that this film challenges Western ideas of what a successful, artistically rich movie can look like by posing a Chinese-American immigrant family at the center of an adventure, and that this is represented in its costume design. Costume design, when utilized thoughtfully, not only enhances the story but provides validation for the cultures represented, adding “a whole other level of meaning to the story,” which this film “represents … so perfectly” (Filmalysis). Moreover, films like this serve to affirm diverse experiences and make room for non-Western stories in a Western-dominated industry.

White and Black | 白 黑

ID: Jobu Tupaki, wearing a white gown, standing in a white cathedral-like building. Her black hair is fashioned in a circle atop her head.

Diving into the movie, the color white, 白, conveys “complex humanistic emotions” for Jobu Tupaki (Chen 1365). According to Chinese color theory, white “is a basic color taboo,” designated the color of death, mourning, and funerals (He, 161). In the Everything Bagel dimension, everything but the Bagel is white, giving a sense of dread and all-encompassing inevitability. On the other hand, there are some commendable perceptions of white too. It may be considered the color of innocence, purity, and safety. Chen posits how the use of this dichotomous color in Chinese cinema gives complicated emotions to characters, which is befitting for Jobu Tupaki, being both villain and victim. In the Five-Elements-Theory, white is destructively impacted by red, evident by how Joy/Jobu is antagonized by Evelyn. Then, white is positively impacted by yellow, represented in the character Deirdre. When Deirdre is redeemed and given her character arc, it causes a domino effect, ending in the redemption of Jobu herself.

Next, the black Bagel is the physical representation of Jobu’s depression and seeming omnipotence. In Chinese tradition, “black implies gloom, disgrace, misfortune, extreme anger,” as well as denoting “strength and authority” (He 162). Also, Filmalysis points out that black is the result of mixing all other colors. The Bagel represents Jobu’s disappointment in life, hinted at when she mentions it containing her old report cards and every desperate Craigslist personal ad. By going into the Bagel that she created, Jobu is essentially giving into disappointment, letting it eat her up until there is nothing left to be disappointed in. In this way, the color black is supported by the color white, confirmed according to the Five-Elements-Theory. On the other hand, black is destructively influenced by yellow. When hope for change and the power of compassion is exemplified in Deirdre, the authority of the Bagel as a means to an end loses its validity.

The two points which turn the graph three-dimensional, Yin and Yang, represented by the black and white Yin Yang symbol, exemplify the thematic dichotomy throughout the film. As Filmalysis observes, the Bagel is a black circle with a white center, while the googly eyes are white circles with black centers. While the Bagel represents death and nihilism, the googly eyes represent hope and optimism. This acceptance of the contradictory nature of life through inner peace is a hallmark of Taoist ideology. As Verellen defines, this “paradoxical strength of passivity” argues that neither nihilism nor denial is the healthy response to life’s difficulty. Then, as previously referenced, Yin is dark and feminine, and Yang is light and masculine. I argue that Jobu falls to the Yang side of the diamond-shaped theory, Waymond falls to the Yin side, and Evelyn reaches a state of balance between the two.

Red | 红

For Evelyn, her signature color is Red Fire, which illustrates her relationship to her daughter and husband significantly. First, the color red, 红, signifying “anything happy, lucky and prosperous,” is considered the opposite of white in the Chinese color circle (Qin Yao). This assessment of Evelyn represents her conflict with Jobu/Joy. According to the Five-Elements-Theory, red is negatively influenced by black. We see this when Evelyn almost succumbs to the nihilism of the Bagel. Then, even more interestingly, red is positively influenced by cyan. Waymond, whose signature color is green, teaches Evelyn the power of compassion and sparks the upward destination of her character arc.

Green and Blue | 绿 蓝

Before introducing the next two colors, it must be explained that green and blue are often conflated in Chinese color theory. It is considered the color of sensitivity, patience, and health, and we may call this color cyan in English.

Accordingly, Waymond, with his signature green color, 绿, is the peacemaker of the family, choosing to fight with gentleness, communication, and optimism rather than violence. When referring back to the Five-Elements-Theory, we see that cyan is negatively impacted by white. I take this to mean that Waymond is saddened by his wife and daughter’s conflict. Waymond is cheerfully accepting of Joy’s partnership with Becky, yet Evelyn’s fearful denial creates a rift throughout the whole family. On the positive side, black exerts a productive influence on cyan, which ties to Waymond’s choice to respond to life’s darkness with kindness.

A related detail, while Evelyn begins her story wearing red, she wears blue in the final scene, further symbolizing her character arc of assuming her husband’s optimistic mindset. When looking at the specific meaning of blue apart from green, we find that the term 蓝 is used in metaphors conveying ideas of nobleness, manual work, and wonderful dreams (Li). Her wearing blue matches the final snapshot of her character development in that she showed nobleness by saving the day. Blue also implies manual work, befitting for a working class, immigrant family being audited. Additionally, blue metaphors in Chinese may convey the idea of dreams. Before cutting to black, we see Evelyn looking around with diverted attention, dreamily taking in the multitude of realities transpiring around her.

Yellow | 黄

ID: Deirdre, wearing a mustard yellow turtleneck with a light yellow cardigan.

Lastly, Deirdre, who wears yellow, serves as a vital tool for Evelyn’s character arc. Yellow, 黄, brings to mind feelings ranging around dignity, light, hope, silliness, and empathy, and is the middle point between red and cyan, giving it a feeling of balance (Li). Accordingly, in the Five-Elements-Theory, yellow is negatively impacted by cyan. I take this to emphasize her role as an arbiter between Waymond and Evelyn. Or one could interpret it to signify how Waymond seeks to disarm the unfriendly Deirdre by gifting cookies, wearing her down with kindness. On the positive side, yellow is productively influenced by red, symbolizing Deirdre and Evelyn’s reconciliation. As Filmalysis states,

“Deirdre and Evelyn have a conversation that starts Evelyn’s transformation. … Deirdre is the first person that Evelyn fights with love and kindness at the very end of the movie. It’s like it marks that transformation for Evelyn’s character.” (8:39) …

“Deirdre is the vehicle through which Evelyn finds her balance.” (9:09)

After Evelyn’s perspective on optimism is changed, Deirdre is the first person she treats with compassion. This, as previously argued, initiates the plot’s shift leading to the happy ending.

ID: Deirdre in yellow and Evelyn in red, sitting together outside the laundromat. 

Conclusion

In conclusion, by integrating the Five-Elements-Theory, we can see more intricate and human connections in Everything, Everywhere, All at Once. When looking at the movie through this prism, we see a story conveying complex themes, the Chinese-American experience, and a challenge to make room in the Hollywood industry for more non-Western art pieces such as this.