Straight from the Cannes Film Festival, here’s what we thought of Wes Anderson’s hotly-anticipated film starring Timothée Chalamet.
Though Tilda narrates her segment like a lecture with projected slides, Frances McDormand’s Lucinda Krementz lives inside of her story. “Revisions of a Manifesto” sees her following the lives of a group of student protestors — “the pimple cream and wet dream contingent” she calls them — staging an uprising against the establishment.
The closing story “The Private Dining Room of the Police Commissioner” is, albeit crazy, far more sentimental than those that come before it. It’s about the Dispatch’s resident queer Roebuck Wright, played by Jeffrey Wright, capturing a character loosely inspired by James Baldwin.
The set design and world-building is, as always, immaculate. From the opening scenes, his imaginary French city sings with the spirit of a world well-lived in: cats of all colours on the roof, kids bustling through the streets like nuisances; an imaginary war scene with fireworks and mayhem that, even in grayscale, feels as fascinating and, of course, perfectly uniform with its framing. There’s a scene in the first chapter in which mayhem unfolds.
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