In the film, Seydoux is joined by Denis Podalydès, Emmanuelle Devos, Anouk Grinberg, and Rebecca Marder. Maïwenn’s ‘Jeanne Du Barry’ with Johnny Depp Lands North American Release from Vertical The majority of the novel unfolds around conversations the pair have before and after sex, with stinging barbs about life, love, and infidelity. The original book centers on a married American man named Philip, now an expat in London, carrying on an affair with a married Englishwoman stifled by an unhappy bourgeois marriage and a small child. Check it out below.ĭesplechin, known for films like “Kings & Queen” and “My Golden Days,” had a tricky adaptation on his hands in bringing a novel built entirely on dialogue between two adulterous lovers to the screen. Along with “The French Dispatch” from Wes Anderson, “The Story of My Wife” from Ildikó Enyedi, and “On a Half Clear Morning” from Bruno Dumont, the “Blue Is the Warmest Color” Palme d’Or winner also stars in Arnaud Desplechin’s “ Deception.” Adapted from Philip Roth’s slim 1990 novel, the film bows in the Cannes Premiere section, and a first trailer in French has arrived. I enjoyed myself during stretches, was getting frustrated during other stretches, and I hope Anderson focuses more on the big picture of his next picture.Though Léa Seydoux’s trip to the Cannes Film Festival is now in question after a positive COVID-19 diagnosis, the French actress still has a handful of movies headed to the Croisette this month. If you're new to the idiosyncratic world of indie film's most precise curator, then I'd advise starting with a more digestible and earlier Anderson entry. If you're already a fan, by all means, step into The French Dispatch. Each of them has the requisite charm and random asides we've come to expect from Anderson, including a leotard-wearing strongman that is called upon by the police to help during the hostage crisis, but it felt more like a collection of overlong short films than a cohesive whole. The third segment follows Jeffrey Wright recounting an assignment where he investigated a master police chef (not "chief") and gets in the middle of a wacky hostage negotiation. The second segment follows Frances McDormand as she investigates a Parisian student union revolting against the ignorant powers that be. The first and best segment follows Tilda Swinton discussing a heralded but imprisoned experimental artist (Benicio del Toro) who is dealing with the pressure to produce. This is not the most accessible Anderson movie for a newbie it's very bourgeois in the kinds of people it follows, the stories it pursues, and the intellectual and political conflicts it demonstrates. It's occasionally so arch and droll that it feels too removed from actual comedy. Perhaps that is Anderson's wry, subtle point considering the entire journalistic voice of the movie feels like somebody made a movie in the style of one of those esoteric, supposedly "funny" New Yorker cartoons. I was amused throughout but each felt like a short film that had been pushed beyond its breaking point. This narrative decision limits the emotional involvement and I found myself growing restless with each of the three segments. The French Dispatch is structured like you're watching the issue of a news magazine come to visual life, meaning that the two-hour movie is comprised of mainly three lengthy vignettes and a couple of short asides. Wes Anderson's latest quirk-fest is his usual cavalcade of straight-laced absurdity, exquisite dollhouse-level production design, famous faces popping in for droll deadpans, and the overall air of not fully getting it.
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