The balance between the front line political battles are shot in a crisp black & white, while any segment in a French cafe is in a bright mix of orange and red, creating a sense of the characters coming alive. As a journalist Lucinda likes to keep her distance in the story, and then proceedingly becomes the editor for Zeffirelli’s manifesto, which in part feels like a poke on how the writer can’t help but be involved with the charisma of a leader, but also balances in the middle of differing views between Zeffirelli and his own love interest Juliette (Lyna Khoudri). He is a young man who views himself as the leader of his own revolution, with the story being covered by Frances McDormand’s Lucinda Krementz, a stickler for ethics. The second story, which is where the momentum starts to build, is a political romp, about a group of French bohemian college kids, part of a chess club, and led by a pencil thin mustache Zeffirelli (Timothee Chalamet). It’s by far the segment that is the most like The Grand Budapest Hotel, which becomes a bit of a divide between the artist, his mentor, and his secret lover. The story proceeds to being a comedy of errors, with the curators being oblivious to the prisoners wrongdoings for the sake of blind adoration, and hitting a note of how audiences can overlook flaws for their own entertainment. Berensen (Tilda Swinton), about how Moses was able to impress fellow inmate Julian Cadazio (Adrien Brody), and when Cadazio was released from prison he returned to help make Rosenthaler’s art reach a wider audience to appreciate. His work has been curated and his story is told by gallery presenter J.K.L. The first part is about an artist by the name of Moses Rosenthaler (Benicio Del Toro), a man in prison for murder, given time and space to paint his images, specifically of prison guard Simone (Lea Seydoux). When done in the Wes Anderson way, it’s hard to not appreciate a rich tribute to the printed word, and the various people that sent their stories to print. The momentum takes a bit to get going with each narrative, conducted using various Wes Anderson styles, telling eclectic stories, and all of them consisting of an array of in-depth characters. The screenplay is compiled by Anderson, with the stories co-written by Roman Coppola, Hugo Guinness, and Jason Schwartzman. Within the runtime, we’re told we will hear a story from the Obituary, the arts, politics, and closed with the cuisine portion in the upcoming edition. (Bill Murray), became a way to bring a slice of the French lifestyle to America. The collection begins with a brief introduction by Herbsaint Sazerac (Owen Wilson), the bicycle riding journalist, describing The French Dispatch, a publication that began in Kansas, led by fearless editor Arthur Howitzer Jr. In short, The French Dispatch is a delightful cinematic rag. Anderson’s newest film- The French Dispatch is a dedication to journalists of the past, French New Wave cinema, and the power of storytelling, told in a vignette style- and yes, told in a classic Wes Anderson fashion. That’s Wes Anderson, who often makes meticulous feasts, with settings that look like living dioramas, a cast of actors that rotate in every film, and an attention to details that is unmatched. Take any great artist, from Van Gogh, to Georgia O’Keeffe, or Salvador Dali, and what makes them great is that they made a style of their own. I believe we are all better off for it, not because all of his movies are winners, Anderson’s work is an acquired taste, but because cinema as a whole is better with him in it. Fox, and up to today with The French Dispatch, the director has never changed his approach. It’s all Wes Anderson and nobody can do what he has done, for if they did, it would undoubtedly look like plagiarism. His vision, his tastes, the topics he is interested in, and the way he wants them to look. The way Wes Anderson makes a movie is entirely his way. STARRING: OWEN WILSON, TIMOTHEE CHALAMET, ADRIEN BRODY, TILDA SWINTON, LEA SEYDOUX, FRANCES MCDORMAND, JEFFREY WRIGHTĪ’s RATING: 3 ½ STARS (Out of 4)
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