Everything Everywhere All at Once won Best Picture in part because it was a rebuke of Oscar-bait pretension with its non-western story, diverse cast, and fun unpretentious style - whereas in the leadup to the awards, many avoided the frontrunner, Todd Fields' Tar, because it appeared to be old-school Oscar: a ponderous, self-serious reinforcement of the Great Art. But tonight, along with the gentle indie Thirty-Two Short Films about Glenn Gould, MG argues that classical doesn't necessarily mean pretentious.