The French Dispatch

The French Despatch ["and so on"] is another typical "Anderson flick", a continuation in story and especially in form of his previous films, yet it is fresh, brisk and certainly not boring. Once again I was enchanted by the meticulously planned scenes, which stood out for their plastic two-dimensionality and were accompanied by playful music and, this time, animated sequences. I was amazed at the number of more or less well-known actors who sometimes only flashed on the screen, but still left an impression. Likewise, I was once again carried away by the refined script, in which the word absurdity (as always) took on a new meaning. Anyone who is not averse to the director's idiosyncratic style will enjoy his latest film, and will smile with bliss. (20/11/2021)

Wes Anderson's movie reportage, an amazing film that can be watched from beginning to end with a smile, preferably in the cinema, because that's the kind of film that cinemas were invented for. You can't help but admire the visuals and the innumerable ideas; all the actors are delightful, no matter how small their role, and each of the stories has something to offer. I look forward to seeing this delightful cannonade of fantasy again, and again, and again. Until then, I'll probably be listening nonstop to Desplat's amazing soundtrack. (19/11/2021)

The more recent Anderson’s films, the less animate the dolls he plays with, but they inhabit grander and more decorous rooms. The paradox of his tribute to the floridly descriptive and snobbishly authorial style of journalism consists in the fact that his film highlights its artificiality and illusoriness. (03/12/2021)

Wes Anderson has his own unique world, and he keeps crafting film after film within it. His vast knowledge and the way he subtly layers his movies with endless details deserve immense respect. However, I sometimes feel that what his films lack — and it took me a while to find the right word — is entertainment. There are tons of ideas here, and the cast, as always, is packed with talent, each actor delivering in their roles. The premise of a magazine editor passing away and the subsequent publication of a final issue, with each article brought to life by Anderson, sounds captivating at first. But after about half an hour, the novelty wears off, and you start longing for the end. Maybe there’s just too much packed into it for one viewing, or perhaps the fragmented structure of the story, split into smaller, less engaging segments, is the issue. It’s hard to pinpoint. For me, The Grand Budapest Hotel still stands as Anderson’s best work within this hard-to-define genre — it's the funniest, most imaginative, and musically brilliant of his films. Unfortunately, all the elements that made that movie great are what The French Dispatch seems to be missing. (02/03/2022)

In colors typical of mannerism, Anderson delves nostalgically into rose-tinted memories of the press, which has long since ceased to exist in this form. A time when journalists were paid for everything and had time to build a real relationship with their themes. A time when writing was valued. In doing so, it pokes fun at artistic, activist and culinary snobbery, and does so with passion and gusto. I hope that someone will take up his idea for a new gastronomic style: food suitable for police surveillance, because it would be useful today for other professions too. IN A NUTSHELL: About the press with love, nostalgia and fantasy. (16/05/2023)