Monthly Archives: November 2012

Moonrise Kingdom Takes Best Feature at Gotham Awards

Wes and co. had a good night last night in New York at the IFP Gotham Awards. Moonrise Kingdom took home the top prize of the evening, the Best Feature award, which was accepted by Kara Hayward and Jared Gilman, Sam and Suzy themselves. We’ll have more, including pictures of the night, and hopefully the acceptance speech, in the coming days.

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A Life Galactic

Ever wondered what the Kessel Run in less than twelve parsecs would look like in slow motion set to the music of the Kinks? Well, you’re in luck, because the folks over at Conan have created a funny short of Wes Anderson’s (fictional) test reel for Star Wars: Episode VII. Check it out here over at Flavorwire where Judy Berman comments:

Forget Grand Budapest Hotel; any man-child filmmaker worth his daddy issues would drop everything to direct Disney’s Star Wars: Episode VII, so of course Wes Anderson has put together some test footage for consideration. And somehow (i.e., they made it up) Conan got their hands on that reel. Titled A Life Galactic, Anderson’s take is just as twee and intricate as you might hope, featuring a stylized showdown between Han and Greedo and the sweetest two-creature motorcycle ride you’ve ever seen.

The Sexuality of “Whimsy”: Gender and Sex in the Films of Wes Anderson

Ryan Reft, of the Tropics of Meta, has written an interesting piece exploring the role of gender and sexuality in the films of Wes Anderson, highlighting that few filmmakers have made being cuckolded seem so adorable and so tragic. Interested? Check it out here. Reft notes:

Anderson’s embrace of Salinger/Charles Schultz/Roald Dahl universe need not exclude adult realities.  In a recent backlash against the backlash, NYC Poet Austin Allen argued that critucs have developed a formula for dismissing Anderson’s work.  Throw around the word “twee,” “dollhouse” or any derivation thereof, add a bit of “arrested development” and a dash of retromania and instantly you’ve encompassed the rhetorical structure for Anderson film criticism. Yet, as Allen points out, “whimsy” need not mean flimsy.  The best moments, he argues, happen when “adult reality snaps us out of childlike fantasy.”  Anderson never avoids these problems but with the help of contributing actors and writers, he is able to weave them into the composition with an understanding that exceeds immature visions of marriage and fidelity.