<![CDATA[This study aimed to identify the symbols presented in the film Everything Everywhere All at Once (2022) and examine how they generated meaning through the process of interpretation. Drawing on Peircean semiotics, as discussed by Chandler (2007) and cited in Nurhaliza (2025), the identified symbols were classified into three categories: natural symbolism, conventional symbolism, and colour symbolism. Their meanings were subsequently interpreted by examining the relationship among the representamen, object, and interpretant. The collected data were analysed using the interactive model proposed by Miles, Huberman, and Saldaña (2014), which comprises three main stages: data condensation, data display, and conclusion drawing and verification. The analysis addressed two research questions: (1) What symbols are presented in Everything Everywhere All at Once, and how are they classified according to the adopted semiotic framework? and (2) How do these symbols generate meaning through the process of interpretation? The findings revealed two main points. First, 23 symbols were identified and classified into natural symbolism (3 instances), conventional symbolism (18 instances), and colour symbolism (2 instances). These symbols were selected based on their visual prominence, recurrence, narrative significance, emotional impact, and contribution to the development of the film’s central themes. Second, the symbols generated meaning through an interpretive process involving the relationship among their visual forms, the objects or concepts they represented, and the narrative contexts in which they appeared. In accordance with Chandler’s (2007) discussion of Peircean semiotics, this process involved the interaction among the representamen, object, and interpretant. Thus, the meaning of each symbol was determined not solely by its physical appearance but also by its context, repetition, narrative function, and connection to the film’s broader themes.]]>
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