Pastel colors, miniatures shots, geometric compositions, and a mix of big stars like Tilda Swinton, Scarlett Johansson, Tom Hanks, and Adrien Brody are Wes Anderson’s most obvious trademarks. However, in his last new movie Asteroid City, a few other themes already emerging in his previous work were hallowed. The sprouting of goofy teenagers, struggling broken families, wild landscapes, and a meta-plot have now also officially become a “Wes Andersonian” thread thanks to Asteroid City. One of the most awaited, as well as feared, premieres at the 76th Cannes Film Festival, which was competing for the Palm d’Or in the official selection.
Recently widowed photographer, Augie Steinebck (Jason Schwrtzmann) is taking his son Woodrow (Jake Ryan) and his little twin sisters to a Junio Stargazers convention for young scientists. In the middle of the desert, in a grid of bungalows interrupted only by a few stylized cactuses, a very mismatched crowd of genius teenagers and eccentric parents is forced to mingle. Between awkward remarks and compelling neurosis, the retreat gets to the final event. But this is only the beginning of it all. In fact, a witty alien descending from the stars on his iconic UFO, to steal a piece of meteorite, brings immense chaos to the camp. Authorities decide to isolate the compound. No one is allowed to leave nor enter. In this limbo, love blossoms, spies are punished, the government hides the truths, and alliances are forged. Until it becomes clear that this colorful convention is actually a play. Which is confirmed when the spectators are abruptly taken to a black-and-white Hollywood studio.
Asteroid City is not only a nostalgic homage to the Cold War scientific race and the prolific science fiction resulting from it, but also it is an ironic caricature of everyday life in the times of Covid-19. While paranoia spread and authority try to reassure the crowds with chaotic control measures, and people carry on with their lives. Everyone resists the best way they can: by cultivating their hobbies or engaging in absurd conspiracy theories. While survival mechanisms are very well framed in the movie, depth lacks. Because of such a static setting and plot, emotions and relations could be driving the narration, as suggested at some points, for example in the vis-a-vis between Augie and Midge (Scarlett Johannson). However, this intensity never reaches a climax in Asteroid City.
As the actor playing Augie argues, when visiting the director of the play at work: he doesn’t understand his characters’ motivations; And the public cannot but agree. What is driving this movie and its characters? Is Wes Anderson actually criticizing Hollywood and to some extent also himself? Is mannerism taking over? For the spectators it feels hard to associate the vague melancholy blowing over Asteroid City with the loneliness and alienation of some of Anderson’s previous movies like The Royal Tennenbaums or Moonrise Kingdom. It feels as if the cult status, naturally acquired by those movies, have fixed Wes Anderson’s visions into predefined stylistic choices, which are all too well visible in Asteroid City. However, an emotional core seems to miss, making Asteroid City “yet another” Wes Andersons movie.
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