Asteroid City (2023)★ 6.4/10

의미를 몰라도 그 삶을 잘 살아낼 수 있다는 것. 믿지 않아도 그 세계에 소중한 것을 모셔둘 수 있다는 것.
사실 이 영화를 다 본 후에 여러번 다시 생각해보았음에도 완벽하게 이해되지는 않았다. 하지만 그 이해되지 않은 부분을 그냥 그대로 내버려두기로 했다.

I never thought I'd rate a Wes Anderson film 4 out of 10, but this one is so self-indulgent that it's becoming difficult to connect with. I couldn’t grasp the story’s message. All I saw were stars reciting lines quickly as if they were puppets on strings.

Wes Anderson continues to stray further away from audience expectations, embracing a true auteur's stance rather than that of a Hollywood commercial director. Whether or not viewers enjoy his films still, the purity and dedication behind this approach are undeniable.

As a fan of Wes Anderson's distinct style, it was a visual feast for me. The retro-futuristic setting combined with Anderson's signature aesthetics created a captivating atmosphere.

Esta no es una "película andersoniana" sino una "experiencia andersoniana". Después de La crónica francesa, Wes Anderson se transformó silenciosamente en un formalista cada vez más puro. Lo estructural se fragmenta, lo humanístico se vuelve abstracto y lo impregna una melancolía posmoderna de "seguir contando la historia". Aun así, no puedo evitar extrañar al locuaz Anderson de El Gran Hotel Budapest.

What a beautiful and sad contradiction. While maintaining, as always, the ultimate formal control, it recognizes the essential futility of this desire to maintain the order: “Asteroid City” is a visual and theatrical space with clear boundaries and a clear structure, but the characters are always subject to chaos and the unknown, both inside and outside the play. That's why those seemingly random kaleidoscopic plot points have been appropriately arranged to form a spirituality of the "post-epidemic era": how should we face the disorder of life? Wes Anderson's answer is acceptance. “You can't wake up if you don't fall asleep”. Even if life is like an incomprehensible script, what we as “actors” have to do is to tell the story.

Wes Anderson has been a pathological collector since The French Dispatch, with each new movie being a differently themed toy box from his collection. The structure of the box, the form and the specific collection are so rich, delicate and nice to look at, yet it's all so emotionally distant from the audience. This collecting fetish even extends to the collections of stars in his movies. Although the superstar cast has paved the safest possible fundamentals for the marketing and film festivals of his work, it still cannot hide the fragmentation and tediousness of his work itself, and ultimately, once again, it’s ultimately reduced to the window dressing of fun and sentimentality.

Great “amusement park movie”, colorful on the surface, obscure inside. No longer driven by a central event/task, the characters come in through the same portal. They are connected by their interests and create fleeting moments of empathy, but only to become invisible in their own worlds and never cross paths again. As Wes Anderson repeatedly emphasizes, communication should be an instinct, but never expect understanding.

O ensaio de uma peça que mais parece um ensaio de uma peça. Os filmes de brinquedo do Wes continuam bonitos mas estão ficando chatinhos.

No será la mejor de Wes Anderson o la más memorable, pero este director nos sigue demostrando porque es uno de los mejores actualmente.

É um filme colorido por fora e obscuro por dentro. Os personagens entram por um mesmo portal. Eles estão conectados por seus interesses e criam momentos fugazes de empatia, mas depois se tornam invisíveis em seus próprios mundos e nunca mais se cruzam. Como Wes Anderson enfatiza repetidamente, a comunicação deve ser um instinto, mas nunca se deve esperar compreensão.

Wes Anderson continua a se distanciar das expectativas do público, adotando uma postura de autor verdadeiro em vez de um diretor comercial de Hollywood. Quer os espectadores continuem gostando ou não de seus filmes, a pureza e a dedicação por trás dessa abordagem são inegáveis.