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In The Life Aquatic, Anderson preserves the eccentricity that audiences came to expect from Cousteau’s documentaries and retains Cousteau’s essential “being,” the wild nature that led him to be an explorer. He also preserves the selfishness and peculiarities that lead Zissou to be described as a “selfish maniac” and “showboat” by his crewmates.

A Speculative Wes Anderson Filmography (2014-2065)

Andy Sturdevant·

Issue 1: Beginnings

“I read this article that said all the Italian workers at Cinecitta are saying, like, ‘He’s the Maestro, he’s Fellini, come back to life!’”

Wes Anderson is Looney Tunes

Michelle Said·

Issue 11: The Magnificent Andersons

The Grand Budapest Hotel is a live-action cartoon, and I say that with the utmost respect.

Something Dramatic and Unusual

Frank Falisi·

Issue 127: Best of 2023

The Wonderful Story of Henry Sugar finds Wes Anderson at his most rigorously experimental, committing to Anderson’s curational ‘style as form’ strategy not as a means of ferrying feeling but as its very manifestation.

A Marvelous Grace

Julia Sirmons·

Issue 123: Nostalgia

Legendary directors Max Ophüls and Luchino Visconti are all over its sets and settings, but in its bones Wes Anderson's The Grand Budapest Hotel pays tribute to the effortless glamour, ineffable humor, and pleasurable melancholy of Ernst Lubitsch.

Place Cliché

Nathaniel Missildine·

Issue 103: Best of 2021

The illusions of The French Dispatch are wondrous and sweet, and possibly vanishing. This singular setting and this singular filmmaker bolster one another, though, an inevitable convergence of two finely cultivated worlds—the outsider dream of France, and the extended universe of Wes Anderson.

I’ve Had a Rough Year, Dad

Matt Chambless·

Issue 102: FUBAR

On the unbearable, beautiful messiness of a single line from Wes Anderson’s The Royal Tenenbaums.

Fantastic Mr. Fox | art by Brianna Ashby

Quote Unquote Fantastic

Ethan Warren·

Issue 82: Literary Adaptations Redux

On Fantastic Mr. Fox and the contradictory, complementary visions of Wes Anderson and Roald Dahl.

There’s Still a Lot of World to See

Joanna Di Mattia·

Issue 47: Childhood

Reconnecting with childhood joy in Wes Anderson’s Moonrise Kingdom

I Just Wanna Feel Everything

Alexandra Tanner·

Issue 11: The Magnificent Andersons

It’s hard to think of two filmmakers less alike than Wes Anderson and Paul Thomas Anderson. Right?

Growing Up with Bottle Rocket

Daniel Reynolds·

Issue 11: The Magnificent Andersons

At its center, Wes Anderson's Bottle Rocket is a coming-of-age story that resolutely does not want to come of age.

I’m Trying to Tell You the Truth About Myself

Bebe Ballroom·

Issue 11: The Magnificent Andersons

While a PG-rated stop-motion film based on a childrens’ story is definitely a departure for the filmmaker, Fantastic Mr. Fox is still completely and wholly a Wes Anderson film.