The French Dispatch looks to the future and confirms that Wes Anderson's excellence isn't going anywhere. justbrizigs' NYFF59 review:
The writers of The French Dispatch wonder aloud “What happens next?” This immediately follows the death of their esteemed editor-in-chief, Arthur Howitzer Jr. who passed away suddenly from a heart attack. In many ways,—the film—has already answered this question: What happens next is that the future barrels onward in spite of, and in defiance of, the past.
The French Dispatch—the publication—is a mid-20th century American outpost based in Ennui-sur-Blasé and founded by Kansas native Howitzer. Per his final wishes, upon Howitzer’s death, the publication is to be terminated along with him.plays out as a visualization of this final issue. Through the framework of a real journal, the film is divided into four segments: An obituary , a tour guide and three feature articles.
Because of this, the film can be difficult to follow on a first go, and Anderson flings so much rapidfire information at you as if to playfully one-up his past self. For J.K.L Berensen’s article “The Concrete Masterpiece,” Benicio del Toro plays maximum security prisoner and gifted artist Moses Rosenthaler, whose nude paintings of prison guard Simone catch the eye of fellow prisoner and art dealer Julien Cadazio .
Anderson remains a creative force to be reckoned with. Frequently rebuked by naysayers for his commitment to his finely-tuned, “quirky” filmmaking style,proves he is more interested than anything in how to play around with the medium of film and find new ways to tell his stories.
But this is the first film in Anderson’s oeuvre where I might argue that the meticulous director has actually broken through to some of those “style over substance” accusations. The precision with which Anderson once effortlessly deployed anguish, familial strife, love, insecurity and, perhaps above all, loss, within his carefully constructed signature filmmaking is largely absent from his newest endeavor.
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