Asteroid City – 3 stars

„ BY AHLIA KARAM

ANDERSON’S unique approach to filmmaking is evident once again, as he purposefully ensures that the audience remains aware they are watching actors play characters in a made-up story on a meticulously designed set.

The film’s setting carries Anderson’s trademark obsession with outdated eras, infused with slight retentions of modernity, faux nostalgia, and the sensation of watching a miniature world unfold.

Cinematographer Robert Yeoman captures this vision, with dolly clad precise panning, high to low, left to right and all inbetween in true Wes Anderson fashion.

As expected, the cast features familiar faces from Anderson’s cinematic universe, such as Willem Dafoe, Jeff Goldblum, Adrien Brody, Tilda Swinton, Bob Balaban, Edward Norton, Tony Revolori, and Jason Schwartzman. Alongside them, new additions like Jake Ryan, Grace Edwards, and Maya Kawke deliver noteworthy performances that will likely secure them future slots in Anderson’s projects.

However, it’s important to note that, like many of his films, the majority of the cast remains painstakingly caucasian, with only a few sprinklings of people of colour.

While he tries to include diversity, this continues to be a recurring criticism in his works.

Scarlet Johansson’s brief (likely body double) nudity may raise eyebrows, seems unnecessary and out of place. Jeff Goldblum’s portrayal of an extraterrestrial character is fitting, given his already colourful persona, and he enters the film with a sweet charm.

Jeffrey Wright’s portrayal of the com- mander is particularly stunning, with dry wit and engaging presence.

Asteroid City delves into acutely American placation, where everything is adorned with a twee quality.

The film plays with the idea of actors playing actors playing characters, blurring the lines between reality and fiction, adding layers of complexity to the storytelling and the occasional embrace of satirical quandaries.

In terms of technical aspects, the sound department excels in creating an ASMR-like experience with intimate sounds like swilling coffee or the smack

of lips.

The costuming and set design are impeccable, in line with Wes Anderson’s compellingly peculiar world. However, some elements, like excessive fake tan, seem puzzling but perhaps contribute to the overall auburn desertscape theme.

Amidst the whimsy and quirkiness, the script provides moments of darkness delivering a no doubt new favourite quote to many “If you wanted to enjoy a nice, peaceful life, you picked the wrong time to be born.”

As is a common issue with modern storytelling the film does tend to propel for longer than necessary, likely fueled by the director’s own ego.

Asteroid City remains an intriguing addition to Wes Anderson’s filmography, showcasing his unparalleled ability to create a world that is both familiar and fantastical.

If you are a fan of Wes you’ll get exactly what you expect, with trademark storytelling and punctilious framing. For those who are not yet won over, this film won’t change your minds.