If there’s any news that will make a film fan such as myself light up, it’s the announcement that Wes Anderson is releasing a new film. Anderson rarely (if ever) directs/writes a project that is less than great, and his films are not only entertaining, but will give audiences a great amount to talk about as they leave the theater. To no one’s surprise, his new film ASTEROID CITY continues his hot streak, simultaneously acting as one of the zaniest comedies of the year and one of his most layered works to date. It comments on everything from the absurdity of theater/storytelling to the unpredictable nature of life and the value of those closest to us. However, ASTEROID CITY is a joyful experience whether one wants to delve into the subtext of Anderson’s script or watch the antics ensue.
Nobody frames a narrative quite like Anderson does — almost half of his movies are some kind of story-within-a-story (The French Dispatch, The Darjeeling Limited) and even if they aren’t, he includes some type of narration or lengthy tangents within the film. The Grand Budapest Hotel even goes as far as being a story-within-a-story-within-a-story; clearly Anderson likes his framed narratives. In ASTEROID CITY, the audience isn’t simply watching a movie, but a film which is the documentation of the making of a play which is shown in film form. The play contains the main plot of the film and is shot in color, while the behind the scenes of the making of the play is shot in black-and-white. As usual with an Anderson film, this opens up the door for a meta-commentary on storytelling and creativity, while also examining the themes of the play itself, mainly involving grief and the randomness of existence.
Once we actually get to the Asteroid City mentioned in the title, the film introduces its wide cast of characters — all of which find themselves in the barren desert town for a Junior Stargazer convention. When the town is introduced, moviegoers are instantly reminded why Anderson is lauded as an aesthetic mastermind. The amazing set design, cinematography and direction come together to create a vivid picture of this small town, a feat which makes the audience feel as if they are staying with the characters for the duration of the movie and which cannot be captured by a hastily-made travel TikTok. The astonishing thing about Anderson’s filmmaking is that his stamp can be seen clearly on every shot, yet every single movie he makes contains a completely different style of production. The vibes ASTEROID CITY exudes are different entirely from his past five movies, proving that a Wes Anderson cannot simply be made by centering a character in a shot.
The main character in the play is photographer Augie Steenbeck (Jason Schwartzman, nailing his first shot at a lead role in an Anderson flick), who is chaperoning his kids for a convention that highlights the brightest and smartest children in scientific discovery. However, his car breaks down once arriving at Asteroid City, and his slightly disapproving stepfather (Tom Hanks — fantastic, to nobody’s surprise) must join them in order to drive them home. While there Steenbeck meets many other parents and children in attendance, but specifically famous actress Midge Campbell (an amazing Scarlett Johannson), with whom he develops a complicated but meaningful relationship. As the film continues, the typical Anderson antics ensue, with characters getting into quarrels with one another and finding love in hilarious fashion.
A wonderful aspect about ASTEROID CITY (and basically every other Anderson film) is the manner in which it can serve as one of the funniest comedies of the year and a literary ponderance on the themes that define why we tell stories in the first place. Both an existential drama and an oddball farce, the film leaves viewers with a profound sense of hilarity that helps numb the strong sadness running through the film’s narrative. Both Schwartzman and Johannson’s characters are recovering from serious loss and the play’s creation involves a similar amount of tragedy.
But what does this all mean? The play is packed with themes, but actor Jones Hall, who plays Steenbeck in the play, wonders what the motives mean in the grand scheme of things. He is given the answer from the director: “Doesn’t matter. Just keep telling the story.” This seems like a non-answer, but in reality it is a look into the motivation behind the making of the film audiences are sitting in theaters to watch. Life brings a confusing and overwhelming amount of random events that make us wonder where the hell the meaning lies in all the chaos. Yet we keep pushing on, building connections with those we love and using that to define our existence.
Saying that ASTEROID CITY is worth your time will come as no surprise to fans of Anderson’s work, because he has yet to come out with a bad film. But like his other movies, there are themes, messages and humorous/absurd antics that are unique to this film, making it yet another one to check out. The production design, costume design and score are awards-worthy as usual, and the all-star cast delivers great performances across the board, elevating an already smart and razor-sharp script. What more can you ask for?
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