The French Dispatch (2021)

Searchlight Pictures

Ever since Moonrise Kingdom Wes Anderson’s films have been progressively and iteratively becoming fully ensconced in layers of his characteristic idiosyncratic style. Perhaps a case could be made that he’s been on this trajectory ever since he picked up a camera and that it was too difficult to fish it out from his early movies, such as Bottle Rocket or Rushmore, because this trajectory was never linear. It was exponential. As time went on and Anderson grew more confident behind the camera, his movies have slowly but surely transcended into a universe of their own, a universe of uber-quirky comedy underpinned by a visual aesthetic attempting to blur the line between live-action filmmaking and stop-motion animation, of which Anderson is also particularly fond (see Fantastic Mr Fox and Isle of Dogs).  

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Dune (2021)


Ever since its publication in 1965, Frank Herbert’s Dune has remained an elusive and treacherous challenge for filmmakers to adapt. Many have tried and failed and those who succeeded have seen their vision diluted and pared down. The seemingly insurmountable narrative and thematic density of Frank Herbert’s prose was enough to bring Hollywood to its knees and turn Dune into one of the Holy Grails of literary works infamously unwilling to bend to the will of the film industry – together with The Lord of the Rings and Ulysses  until now. Well, sort of.  

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