By Abigail Mulonas
Getting too caught up in creating what the “stereotypical cinematic picture” should look like, Wes Anderson’s “The French Dispatch” forgets, above all else, that a film should be entertaining.
Encapsulating Anderson’s craft, however, those who are not fans of his unusual and distancing style simply will not enjoy the aesthetic. Instead, the open-mindedness that embraces the movement of loosely compacted stories linked together can find a way to appreciate it, even with inconsistencies tying together all the boring journeys.
The story follows a love letter to journalists in a fictional French city, bringing to life a collection of stories published in “The French Dispatch Magazine.” Starring an immensely talented cast, the film includes Timothee Chalamet, Bill Murray, Owen Wilson, Benicio Del Toro, Tilda Sweden, among many others.
Upon this, presenting numerous, specific stories, there is plenty of room for mistakes connecting it all. Though this falls off track within its first few tales, the narrative quickly redirects to show the importance of the seemingly minor details.
Leading these characters is a talented, imprisoned artist with a muse who he cannot have, politically active teenagers rallying against the government, and an editor-in-chief that gives creative freedom. However, the vital pieces rather become the relationship between two broken people, the journey of a bright student, and a boss that created connections through mutual respect.
Choosing stylistically distinctive features like a fullscreen picture (a modified version of a movie to fit an old TV screen rather than traditional widescreen movies), selective black and white scenes, and a multilingual script is as cultural as it is notably creative. Arguably, this is on the brink of too many ingredients for its own good, though. Barely odd and chaotic enough to be artsy, the quality of what’s included should have held more weight than the quantity.
Yet, it is unlikely that the everyday film watcher would find much enjoyment from this, as its praises, almost fully, come critically. With fragments that are important enough to consider well done, such as the realistic performances and a traditionally unconventional style, the film on a whole loses the interest of the audience more and more with each story it introduces.
Rating: 6/10
