i didn’t expect wes anderson to get lynchian about it, but that’s what this film is. the multiple narrative layers, the different colour codes, the nested narratives, the breaking of the fourth wall, the presentation of the drama: it’s all a carefully-constructed puzzle. the major difference being that in a lynch film like Mulholland Dr., there is no solution: “ceci n’est pas une pipe.” this is not quite on that postmodern level, it seems quite clear that there is a discernible structure, but it still makes for wes anderson’s best film since The Grand Budapest Hotel (perhaps even surpassing that).
lowkey the funniest and most “innovative” (in terms of wes’s signature style) aspect of this film is the inclusion of WASP characters. the three twins, the cowboys, the mechanic are all basically unlike any character in any other of his films that i can think of. it’s nice to see him branching out.