Wes Anderson is more clear about his whole 'thing' than ever with Asteroid City. In doing so, he's created a deeply layered, melancholy, breathless search for meaning. JacobOller writes:
skeptics, all of his movies might as well be science fiction. His framing is meticulous, his physical comedy as precise as a quartz watch, his actors like vintage store mannequins with daddy issues. They deliver lines quickly, perfectly, like bon mot-bots. Are his films not of this Earth? Is he more machine than man? His artifice is more explicit, celebrated, and loathed than that of almost any other mainstream director.
We also think about lonesome Earp, typing out his Western fantasy in his cowboy-emblazoned jacket. Earp doesn’t quite know why his characters do what they do. It’s more like he thought them up so he could see what they’d get up to. When one of his actors taps into something true, something Earp wasn’t conscious of, they become lovers. This is what happens when you feel understood, especially around your art. And he lives and dies by his writing—literally.
He might—like Space Cadets Woodrow Steenbeck or Dinah Campbell or Wes Anderson—feel more content “outside the Earth’s atmosphere.” He might feel more comfortable in a small circle of peers on his highly particular wavelength, playing memory games with references to famous figures. . He may also, like Clifford the teenage personification of, need someone to notice his antics, just so he feels like he exists at all. But all of that is ironically human.
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