THE FRENCH DISPATCH REVIEW

 *MAY CONTAIN SPOILERS*

Since the release of his debut feature, Bottle Rocket, in 1996, Wes Anderson has established himself as one of the most interesting and unique visionary filmmakers working today. While there are those who find many of his films to be too weird for their liking, others who enjoy watching what he’s created. Since watching his most successful film, The Grand Budapest Hotel, in 2014, I’ve become a member of the latter category, especially after watching most of Anderson’s features. What I’ve always liked about his films is that they’re filled with a star studded ensemble cast who each portray memorable and interesting characters and the quick witted humour. Because of this, I was excited for his latest film, The French Dispatch, which was originally scheduled to premier at Cannes Film Festival last year but was postponed to this year following the worldwide outbreak of the coronavirus. Finally, after waiting over a year, I got to watch The French Dispatch, however, does it represent Anderson at his best?


The French Dispatch, a high-brow magazine based in the imagined Gallic town of Blasé-sur-Ennui, has reached its end. Its founder, Arthur Howitzer Jr. (Bill Murray) has died and his beloved creation looks set to shut down operations. In doing so, its staff reflect nostalgically on the publication’s halcyon days, when the writers were as celebrated as the subjects they covered. There’s the art critic, J.K.L Berensen (Tilda Swinton), who regales with the story of a jailed painter’s, Moses Rosenthaler (Benicio Del Toro) obsession with his muse, Simone (Léa Seydoux); a political correspondent, Lucinda Krementz (Frances McDormand) whose ‘current affairs’ once included a young insurgent, Zeffirelli (Timothée Chalamet) during a student protest; and the rarefied food critic, Roebuck Wright (Jeffrey Wright) who becomes quite the pot-au-feu when he finds himself caught up in a kidnapping plot.


Although The French Dispatch isn’t Anderson’s best film, it’s undoubtedly one of his most interesting films as it brings to life a collection of tales published in the eponymous magazine, The French Dispatch. These tales are told visually with each journalist narrating their writings. Prior to watching The French Dispatch, I wasn’t sure if this premise could result in an entertaining film, fortunately, I was proven wrong. The film benefits from Anderson’s imaginative and self assured directing skills. I can imagine that, with The French Dispatch, he wanted to create a film that is a love letter to journalism. When people think of journalism, they probably associate it with tabloids and those who publish false and controversial stories and rumours about celebrities. However, The French Dispatch shows a different side to journalism and that’s one that consists of creative writers who want to tale interesting and informative stories.

The French Dispatch is probably Anderson’s most divisive film yet. Since its premiere at the Cannes Film Festival, it’s received a mostly positive response from critics who praised Anderson’s unique filmmaking skills. However, there are those who were left puzzled at what they just watched. Those expecting a laugh out loud comedy that is simple to follow will find themselves struggling to be entertained by The French Dispatch. However, it will, most likely, be enjoyed more by those who are more familiar with Anderson’s work.

Unsurprisingly, the strength of The French Dispatch lies in the outstanding work from behind the scenes, including Robert D. Yeoman’s clear and precise cinematography, Alexandre Desplat’s delightful and catchy score and the production design. Although the majority of Anderson’s films have been overlooked in the major categories at the Academy Awards (The Grand Budapest Hotel is his only film to be nominated for Best Picture and win four Oscars for Best Production Design, Best Score, Best Make-up and Hairstyling and Best Costume), I wouldn’t be surprised if The French Dispatch were to be nominated for the impressive work from behind the scenes. 

The French Dispatch may be Anderson’s most overwhelming film yet as he crams a lot into the film’s 108 minute runtime. The film is filled with amusing characters, interesting stories and even an animated car chase sequence towards the end. What’s almost certain about The French Dispatch is that each viewer will have a different reaction and will favour a certain story more than others. While I thoroughly enjoyed The French Dispatch, my favourite story was The Private Dining Room of the Police Commissioner which focuses on food critic, Roebuck Wright (Jeffrey Wright), talking about his article about chef Lt. Nescaffier (Stephen Park) but, instead of taking about Nescaffier, ends up detailing the events of a kidnapping plot involving the young son of The Commissaire (Mathieu Amalric) who Nescaffier works for. For me, this is where The French Dispatch is at its most entertaining and funniest, with Wright delivering a charming performance. 

Following my first viewing of The French Dispatch, my instant reaction is mostly positive, however, because there’s so much to take in, I’m definitely looking forward to my next watch when it gets released as I definitely think that it’s one of those films that benefits from repeated viewings as there’s so much to take in.


Wes Anderson’s The French Dispatch represents the filmmaker at his most imaginative and is filled with interesting ideas and a star studded and talented cast. 

8/10