Wes Anderson says you should watch his films twice – World of Reel

Over the years I have re -evaluated some of Wes Anderson's films, including “Moonrise Kingdom” and “Asteroid City”. When I saw “Asteroid City” for the first time in Cannes, my reaction was at best lukewarm. It felt like another overly stylized exercise, a film that is more interested in his own appearance than in the people who move through his frames. But something changed on a second tour. It clicked.

And that speaks, I think, about Anderson's work. His films are constructed with such meticulous details – a frame with precision, every dialogline that is placed exactly in such a way – that a single inspection is often not sufficient. The first time they take off the surface. The second time you see what is below.

In a recent interview with Thr, Anderson admitted that his visual style dominates the conversation for his films. He understands that his aesthetics can be recognized immediately, and he is in peace. But he also wants the viewers to see that each of his films tells their own story with their own emotional core, characters and thematic intentions. They are not just differences in a stylistic topic.

He also admits that his films can be tight – evenly – and that they benefit from a second look. As soon as the viewer knows the rhythm, the structure, the world in which it is invited, the storytelling opens. The clarity, the emotional precision, humor and sadness – they appear.

I would say that if you can see it twice, it's always better. (Laughs.) I have the feeling that my films can somehow be density, but I make a film that is usually not that long. I try to make an efficient film. My whole way of making films is about clarity and quickly communicating communication, and that makes my films in a way. Sometimes I have the feeling that the best way to appreciate one of my films is to have already seen him and know what it will be. “What is that?” Now I know and let me see it now. So if you don't like it the first time, just try to see it again.

When I put on “Asteroid City” again, I found something that I had never seen before. What had realized me as cold or excessively for the first time now felt alive. It is a film that is obsessed with the big questions – county and faith, life and death – and he researches them with an meticulous one who reflects his subjects. What seemed artificial now felt consciously; What once seemed distant seemed intimate now.

Anderson's most recent films can bring his stylistic tendencies to the edge – sets that look like dioramas, performances that flirt with abstraction, a pace that leaves no space for breath. But pay close attention and then watch again. There is a method in symmetry. Soul is under the style.