A five-star cast, an incredible imaginary world, poetic paintings, light humor ... Everything seems to be together but sometimes it is not enough.
Wes Anderson's latest film, released in cinemas on October 27, was hailed at the Cannes Film Festival, and was in the running for the Palme d'Or.
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The French Dispatch
, the magic lantern of Wes Anderson
A deserved recognition, according to our critics Éric Neuhoff and Étienne Sorin.
“Wes Anderson is the king of miniatures, a fan of detail, a follower of elegance and precision. His meticulousness touches on poetry. His homage to the New Yorker multiplies the references, buzzes with quotes. Everything is overflowing with ideas and invention ”,
greets the first.
“The cinema is a magic lantern, an inexhaustible reservoir of fictions. Anderson uses all his panoply (voiceover, embedded narratives, split screen, animation and score by Alexandre Desplat) for a parody tribute to the New Yorker. The jaded may see it as a source of boredom. But in Cannes, where shapeless films are numerous, the style of Wes Anderson continues to impress, ”
says the second.
Read alsoThe
French Dispatch film
, collector's issue by Wes Anderson
The
New Yorker review
was also eagerly awaited; she is ecstatic "The French Dispatch
is perhaps Anderson's best film to date,
" enthuses the magazine, adding that its director "
reaches new dimensions of decorative ingenuity and social observation.
"The journal highlights the director's creative sensitivity who, rather than showing on screen"
the genuine pain
"implied by the serious subjects he tackles,"
He arouses emotion.
For the one who inspired the film's fictional diary, the profusion of detail does not make it too heavy but makes it "
by far the richest film."
"
And yet, this richness is sometimes criticized in Anderson's last film.
Welcome to Ennui-sur-Blasé which, as its name suggests, does not witness many events.
Just enough, according to
Large Screen
, to leave room for “
long tirades, narrators' digressions, written details, contextualizations and other pompous verbiages, which easily lose the unfolding of events.
"
“The film ends up amazed as much as it disappoints.
"
Large screen
From a purely aesthetic point of view the film is a real success according to
Large Screen
, since "
Wes Anderson plays as much as possible with the plastic of his film, offering a sublime visual spectacle, but above all ideas of direction and direction. each more inventive and ambitious than the other
”, rejoices the newspaper.
Les Inrockuptibles
see this diversity of paintings as an “
orgiastic sandbox
” which turns out to be “
a possibility to explode its performances
”, but quickly tests its limits: “
The visual goldsmith of the filmmaker who poorly masks a relationship to the world and to humans more and more reified and morbid.
"
Read alsoThe
French Dispatch film
, collector's issue by Wes Anderson
The quality of the casting, for its part, does not succeed in making us forget the quantity of actors who seem to do nothing but pass "
without staying there
" and are not thorough, regrets
Premiere
.
Yet touched by the image of this somewhat old-fashioned press that the film gives, the newspaper takes stock of the director's filmography: “(The films of Wes Anderson)
Can we love them every time, without do they tire us from time to time or do you have to be in the mood for Wes to enjoy an Anderson movie?
"
“All the Wes Andersons, the one who touches us, the one who amazes us and the one who sometimes ends - sometimes within the same film - by boring us.
"
Premiere
For the
New York Times
,
The French Dispatch
is not really about journalism: “
Anderson's nostalgic film deals more with an old subject: the American writer in Paris.
"The newspaper sees it rather as a declaration of love from a director to the country who adopted him for nearly a decade:"
France clearly has an emotional hold on the director.
"
If
The Guardian
laughed well: "
It is perhaps not the height of what it can do, but for the pure pleasure of each moment, and for laughter, it is a treat
", Télérama, as to him, condemns Wes Anderson.
For the French newspaper, the director has reached the limits of his art or at least “
his assumed dandy mannerism reaches its limits here.
The French Dispatch
is not a failed film but it causes boredom, so much it sweats the thoroughness.
"
Read also
The French Dispatch
, the magic lantern of Wes Anderson
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