So even though many A-listers only get a line or two, Wes fans will delight in picking out faces they recognise. The sprawling cast list might have once looked intimidating, but they flit in and out adding colour and life to the headlines. The French Dispatch is Anderson’s most impressionistic and unusual film in quite some time, not to mention his most ambitious since his stop-motion adaptation of Fantastic Mr Fox. A cartoon sequence is a particularly lovely touch, reminiscent of The New Yorker’s elaborate illustrated covers. The film manages to portray the strident spirit of the magazine, with the kind of smart, intricate dialogue we’ve come to expect from Anderson interlaced with memorable plotlines that wouldn’t feel out of place in a highbrow periodical. Perhaps the most moving of the segments is the final one, in which Wright’s gay reporter reflects on an encounter with the famed police chef Lt Nescafier (Stephen Park).Īnderson has pointed to The New Yorker as his grand inspiration, and this shines through with plenty of references without ever feeling too insular or alienating to those with less affinity for the publication. These stories are depicted in typical Anderson fashion: Berensen delivers a symposium about the incarcerated artist Moses Rosenthaler (Benicio del Toro) and his muse, prison guard Simone (Lea Seydoux) Krementz reports on student revolutionaries Zeffirelli B (Timothee Chalamet) and Juliette (Lyna Khoudri). These dispatches take the form of a travelogue filed by cycling enthusiast Herbsaint Saverac (Owen Wilson), an arts report from JKL Berensen (Tilda Swinton), a political investigation by Lucinda Krementz (Frances McDormand) and a food column written by Roebuck Wright (Jeffrey Wright), bookended by a prologue and epilogue concerning the paper’s past and present. Concerning the French foreign bureau of the fictional Liberty Kansas Evening Sun newspaper, the film follows three separate storylines gathered together within the The French Dispatch’s final issue, to be released upon the passing of its founder and editor-in-chief, Arthur Howitzer Jr (Bill Murray). It's the opposite in France they don't really perform, they play with their own nature.Wes Anderson’s star-studded, multi-chaptered tribute to The New York is his most impressionistic work to date.Īnyone who is familiar with LWLies knows we’re pretty big fans of Wes Anderson his tenth feature seemed tailor-made to appeal to movie lovers who also appreciate the art of print journalism. It's not like the American cinema tend to perform. "In France, you have many actors who have a strong nature. (The busy actor also graces upcoming movies from auteurs David Cronenberg and Mia Hansen-Løve.)ĭirectors and casting agents might associate Seydoux with a certain inscrutable, femme fatale-like figure – but she seems amused by the image that is being built around her. She received particular praise for her performance as a celebrity news anchor in Bruno Dumont's satire France – a piece of casting that perhaps tilts at the Seydoux family's links to major French film studios Pathé and Gaumont.Īnd she appeared as a muse – again – in Arnaud Desplechin's Philip Roth adaptation Deception, playing an adulterous English lover to a writer named (ahem) Philip.īoth films are due to reach Australian screens in 2022. Ildikó Enyedi’s The Story of My Wife, starring Seydoux and Gijs Naber, also premiered at Cannes, and was part of the Official Competition of Sydney Film Festival in November.
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