Set to hopefully warm up the freezing balls of Berlin early next year, Wes Anderson’s latest coterie of quirks, shenanigans and unparalleled cinematographic symmetry The Grand Budapest Hotel has been chosen…
Wes Anderson’s seventh feature is infused with almost featherweight childhood nostalgia, but don’t let that deceive you. Moonrise Kingdom is a heartfelt, albeit whimsical, paean to the caprices of first love, longing and youthful escapism told in meticulous cinematic detail and style unrivalled by any director of his league. It’s also wonderfully, coolly idiosyncratic.
It’s the breeding season of cinema, folks. What d’you expect. This is the much awaited time when auteurs pull out their wangs (that’s artistic egos for you, uninitiated ones) for public stroking and adoration. It’s the battle of men this year. Not that we’ll witness somebody like Haneke beating the life out of somebody like Kiarostami, but at least we’ll expect their films will make some particular impact. Let’s not kid ourselves, Cannes is the most prestigious film festival in the entire circuit. The French know and love their cinema. 9 out of my Top 10 Films last year all premiered in Cannes.
There’s no other director in cinemalandia who does quirky better than Wes Anderson. The man probably consumes ‘quirk’ for breakfast, lunch and dinner. And then enjoys a bit of whimsy for afters. His latest cinematic dish Moonrise Kingdom looks like from the Signature Anderson Menu – yellow palettes, idiosyncratic humour, slow motion, groovy French soundtrack, childhood brouhaha and Bill Murray. Just don’t expect Anderson to make gritty cinéma vérité – this guy sticks to his own style like superglue to a wall. Which makes him just wonderful.