by Shelt Garner
@sheltgarner
My introduction to French cinema and one of the strangest movies I’ve ever seen was “Betty Blue.” That was one fucked up movie. One half hour in that movie could have been turned into a full length American film. In short, a lot was going on.
I’ve slowly grown into a big Wes Anderson fan as he’s become more of an auteur. I’m probably showing myself to be a stereotype of some sort, but Wes Anderson and Paul Thomas Anderson are two of my favorite living filmmakers. Anyway, the reason why I bring this all up is how…French…The French Dispatch is.
Let’s start with the gratuitous amount of nudity in this movie. It’s not prurient or titillating, but there is a WHOLE LOT of Léa Seydoux in this movie. And, weirdly enough, there is a brief glimpse of full frontal nudity on the part of Tilda Swinton. (Who holds up really fucking well for 61!)
Whenever an art film has a lot of nudity in it, I wonder as to the reasoning. Is it a “gift” to art film nerds? Is it an effort to generate buzz? Ms. Seydoux — who was once was a part of a 23 minute lesbian sex scene in Blue Is The Warmest Color — may have been doing all that nudity not only as a flex but also to help her career.
Wes Anderson movies are Event Films for actors — given how many great ones tend to be in his films — and a lot of directors watch his movies, too. I find Ms. Seydoux to be a serious babe. She does look like a very glamorized version of my first serious girlfriend, too.
Anyway, the point is — I had to drive 35 miles to see this movie and it was worth it. I did check my watch and roll my eyes a few times. But, overall, it was well written, directed and acted. As always with Anderson, the cinematography was great, too.
You must be logged in to post a comment.