Like all great directors, Wes Anderson understands that there’s no better place to be sad than the American West. Anderson’s latest film Asteroid City coats on the sadness like light pink paint on The Grand Budapest Hotel.
While his style has been parodied of late on social media as being emotionally despondent and blandly schematic, the brilliant Asteroid City might be the best example yet of why the auteur’s films beat from bleeding hearts, ones carefully hidden in ornate mazes designed with precision and reverence. It’s a film that’s as achingly melancholic as it is deeply funny, showing why Anderson is one of the true experts for tonal balance.
