I really like nearly all of Wes Anderson’s work. I heard someone say this was like Wes Anderson trying to make a Wes Anderson movie… and I agree. Not that that’s a bad thing, but things can often come across a little cheesy when someone knowingly “turns it up to 11” so to speak.

Also, it felt like this was (perhaps arguably) Anderson’s most “meta” film. Again, not terrible, but also very on the nose and not very subtle.

All said, I do feel like I would like to watch it a few more times before really cementing where I put it among Anderson’s other work. Right now it’s probably mid-tier for me.

Love to hear other people’s thoughts.

  • rubbishh@kbin.social
    1·
    1 year ago

    This was the first Wes Anderson film I’ve ever seen, and I loved it. It was so beautiful and funny, though I definitely feel like I have to see it again to get all of the quick little jokes in it. The part that has stuck with me the most was the lead actor going to the director saying he doesn’t understand the play and the director saying something like “it’s ok, you don’t have to understand it. Just keep going.” And I feel like that applied to the actors, the characters they were playing, and me as the audience. Especially with the characters now wondering about the meaning of life and going through this crazy experience. I feel like I needed that little message and it made the movie that much more special. I’m definitely going to make some time this summer to watch his other films and see how they stack up.

  • eramseth@lemmy.worldOPEnglish
    1·
    1 year ago

    I put some thoughts to words in replying to another post about Asteroid City. Love to hear if anyone buys this analysis. I’m no critic or film theory expert, but I have seen most of Anderson’s other films.

    My take after a single watch is

    spoiler

    I think it’s possible the entire construct of what was happening in black and white was not really happening at all, but just an invention of Jason Schwartzmann’s character to help him deal with the grief of losing his wife.

    Conversely, I think everything that happened in color was really happening.

    Interestingly this is a wild inversion of what’s presented on screen (where we’re supposed to believe that what’s happening in color is all a production being put on by actors and is NOT real, while the black and white stuff is what’s real.

    I’ve only seen it once, but I suspect there are really subtle hints to this peppered throughout.

    I believe the climax of the movie is when Jason Schwartzmann’s character “walks through the set” and ends up encountering his wife / “the actress who was supposed to play his wife”. That it began snowing afterwards is a strong visual Cue.

    This is literally just my take. I haven’t bothered reading any analysis. I probably won’t until I see it a few more times.