“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!’”
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wes anderson
The Grand Budapest Hotel is a live-action cartoon, and I say that with the utmost respect.
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.
On the unbearable, beautiful messiness of a single line from Wes Anderson’s The Royal Tenenbaums.
On Fantastic Mr. Fox and the contradictory, complementary visions of Wes Anderson and Roald Dahl.
Reconnecting with childhood joy in Wes Anderson’s Moonrise Kingdom
It’s hard to think of two filmmakers less alike than Wes Anderson and Paul Thomas Anderson. Right?
At its center, Wes Anderson's Bottle Rocket is a coming-of-age story that resolutely does not want to come of age.
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.
Wes Anderson builds worlds that makes us want to live there.
In Station Eleven, art brings people together, pushes them apart, makes them angry, and makes them whole.
My unpopular opinion is that Wild Mountain Thyme is a transcendent work of art. Not from any objective standpoint, but rather from that of one particular head and heart: my own.
