![]() Dispatch stages this pathos more elaborately and intricately than perhaps any of his previous films. In the process, Anderson’s films render the pathos of everyday life, following weird, imperfect people clinging to what matters to them, no matter how idiosyncratic or eccentric, and in spite of whatever chaos erupts around them through the normal course of living. By so thoroughly de-emphasizing the personal narratives of any one character, the movie is free to do what his films have always done best: move indirectly, framing subjects with a certain uncanny, rigorous aesthetic. Given its multiple, divergent storylines-each complete with dense, world-building detail-the film could be viewed as something of a magnum-opus for Anderson. Through these essays and an introductory sketch, the Dispatch reports one last time to a U.S.-based audience from the fictional town of Ennui-sur-Blasé. Each story in the film inserts viewers into one of the magazine’s feature essays, disclosing a sense of the author’s writing style and view of the world. The film is not “about” so much as it takes viewers through the final issue of a fictional, eponymous literary magazine overtly modeled on The New Yorker. ![]() ![]() ![]() Wes Anderson’s The French Dispatch is a movie in vignettes, a whole that emerges through the sum of its parts. ![]()
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