Maybe with good luck we’ll find what eluded us in the places we once called home.

Sometimes movies are love letters. Those frames become eulogies that acquire a narrative meaning within the story. While the director takes advantage of the resources of cinematographic language to unfold his story, each sequence becomes an apology to something or someone. With The French Dispatch (2021) Wes Anderson composes his love letter to journalists and to journalism. With the rigor that characterizes him, he reassembles a staging that fascinates, intrigues and surprises. In a way, his cinema has always been a reverence for art, and each project exudes his personal brand throughout. It is impossible not to recognize his work just by looking at a shot of one of his films.

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