The French Dispatch

Wes Anderson's movie reportage, an amazing film that can be watched from beginning to end with a smile, preferably in the cinema, because that's the kind of film that cinemas were invented for. You can't help but admire the visuals and the innumerable ideas; all the actors are delightful, no matter how small their role, and each of the stories has something to offer. I look forward to seeing this delightful cannonade of fantasy again, and again, and again. Until then, I'll probably be listening nonstop to Desplat's amazing soundtrack. (19.11.2021)

The more recent Anderson’s films, the less animate the dolls he plays with, but they inhabit grander and more decorous rooms. The paradox of his tribute to the floridly descriptive and snobbishly authorial style of journalism consists in the fact that his film highlights its artificiality and illusoriness. (03.12.2021)

I am surprised by how positively The French Dispatch is received, how willingly the audience jumps on another Wes Anderson dreamy train on the way to their own memories, regrets, and desires. What is missing is that famous step towards the audience, which usually makes such a journey easier through the fantastic world of The Life Aquatic with Steve Zissou or the playful animation of Fantastic Mr. Fox. This time, styles are referenced, forms are homaged, stories are swapped out, and the pace is treacherous due to the differing length and mood of the individual segments. However, when this headwind is overcome, it becomes an inventive, crazy, and contemplative mosaic of everything and everyone, from which, under the weight of the avalanche of various stimuli, the inability to keep up almost leaves your head hurting by the end. (17.02.2022)

After the death of a magazine publisher, the writers find out that their magazine is ending. And in the last issue, besides the obituary, they will publish the best articles about art, politics, and food. Wes Anderson presents a not very interesting bunch of stories about journalists in a form that prevents him from selling what usually makes his films most interesting. (21.11.2021)

A short story tribute to "good old France and reportage journalism" that starts with by far the best story (meaning the Seydoux/Del Toro one, not the introductory one), which makes the others seem a bit unfairly ordinary. Another snag is that they are "one and the same". This is doubly annoying because they are "as if by different authors, each with their own unique style of writing", which should have resulted in each having a clear visual identity. But they are all an amalgamation of styles (different genres, film periods, animation) and therefore they are all indistinguishable from each other. Otherwise, everything is typically Anderson: distinctive poetics, elaborate camerawork, work with pompous mise-en-scene, performances on the edge of caricature, but without slipping into goofiness. Overall, this is so much a Wes Anderson film you’ll know with absolute certainty in advance whether you will like it or not. The only question is how much you'll (dis)like it, since it's a Wes Anderson film that's kind of idling this time. (27.12.2021)