To look at
It became a note on the world of Wes Anderson rather than a review of The French Dispatch’s work. I thought of a more unique interior than an eye-catching exterior.
It’s a little tricky to criticize a director named Wes Anderson. We always speak less of him for his fame and his accomplishments. To be precise, it tends to only repeat itself in certain topics. Impressive “picture beauty” and splendid “color” are the sounds that come out with each release of his film. Of course, this is not a story that can be avoided, as the director himself is obsessed with designing a screen that is precise enough to look obsessive. Its staging is immediately beautiful, and it is not easy to deny it. However, it is somewhat unfair that only his visualist aspect is particularly emphasized, considering that he is as adept as he is at organizing the internal order of the film as much as he brilliantly cuts out the outer skin. of the movie.
In the process, devices such as a story in which the act and the chapter are divided like a play or a novel, and a plot with a sequenced frame structure are mobilized. Anderson’s films often divide the overall scheme into a prologue, each chapter, and an epilogue. Rather than directly explaining what he is trying to say, he adds and subtracts the necessary materials into a uniformly designed structure. For example, the story continues indefinitely as a stream of consciousness, and as they follow the breath, parts hidden behind the viewer’s memory reappear and acquire concrete annotations. Personally, these are the times that I would like to call bookmarks or dividers, as the story that was intentionally cut picks up from that point. For example, the reason Margot’s (Gwyneth Paltrow) ring finger was cut in
Meanwhile, another point that is often mentioned in connection with his films is that he discriminates against minorities such as people of color and women. In the poignant work of Cathy Park Hong
moments of contention
The magazine creation process by the authors of The French Dispatch is told in conjunction with the manuscripts they write, the words they speak, and the experiences they have actually lived or covered. On the first page “Arts and Artists”, Berenson (Tilda Swinton) introduces the artist Rosenthaler (Benicio del Toro) from the pulpit. If so, is this time of introduction and explanation, which is interrupted with each introduction and medium, also used in the manuscript as an essay? If not, is it written only in historical time, like the artistic exchanges between Rosenthaler and Simon (Lea Sedou) and the deal between Cardaggio (Adrian Brody), which sometimes alternate between black and white? How will Simon’s verses, which mostly speak French, be transferred to Berenson’s manuscript? In the film, there aren’t enough scenes where reporters actually write, and most importantly, by not clearly explaining how the cover becomes a manuscript, the film continually spins the sense of weird incongruity. In the process of loading the three articles, little anecdotes as well as open questions from the audience continue to interfere with the gap between the fiction. Much like the late editor Arthur Howitzer Jr. (Bill Murray) reads and gives his opinion to reporters. The truth is uncertain, but does it matter? It’s clear that
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