Watching too much Wes Anderson is like eating too many Fondant Fancies in one go and then wondering why you feel sick. They’re brilliant, highly stylised, beautifully crafted, but you can have too much of a good thing. I once (for research) made the mistake of watching five of his films in a single day and they were all so darn happy-sad that I couldn’t work out what he was going for, ending my day in a confused stupor of symmetrical framing and primary colors.
But now I feel like I’m eating my words because the master of fancy-pants filmmaking meets the queen of all on-screen genres, and this might possibly be the greatest, most fabulous cinematic event of millennial times. I’m reluctant to ascribe labels like ‘hipster’ to other human beings, but Wes is an undisputed pro when it comes to dishing out hipster fodder – his newest film is bound to rake in money from people who you just know are going to create lengthy video commentaries and podcasts on the best shots.
Source: Destructoid Wes Anderson’s new musical in 1950s France is the most hipster fusion ever to grace film