Wes Anderson’s eccentric visual style and whimsical storytelling have become a hot topic among recent online trends. Taking advantage of A.I. art generators, some TikTok users have attempted to recreate the auteur’s signature look. These creations typically utilize culturally significant franchises such as “The Lord of the Rings” or “Star Wars,” meshing their imagery with Anderson’s recognizable filmmaking conventions. Claiming that his style is easily mimicked, some online personalities have begun questioning Anderson’s talent (The Playlist).
“Asteroid City” — Anderson’s eleventh feature film — debunks these claims, illustrating the grounded and heartfelt approach endemic to his style. He crafts each frame with a level of precision and care that A.I. fails to reflect. Its star-studded ensemble realizes an eclectic group of his most complex characters, inhabiting a breathtaking desert production. A layered and profound story of grief and discovery, “Asteroid City” is an existential romp — Anderson’s best since 2014’s “The Grand Budapest Hotel.”
Like many of Anderson’s previous entries, “Asteroid City” is a story within a story. The film opens as a mid-1950s TV show presented in black and white with a 4:3 aspect ratio. The Host, played by Bryan Cranston, introduces a theater production of the same name. The play occurs in a secluded desert town, where the audience is occasionally shown behind-the-scenes developments. Its unconventional presentation may sometimes appear unnecessary, but Anderson’s seamless transitions feel natural nonetheless.
The main story revolves around the itinerary of a Junior Stargazer/Space Cadet convention, which has summoned a group of child prodigies and their parents to Asteroid City. Their oddball inventions, each amusing in their own right, compete in a scholarly competition. When an otherworldly arrival disrupts the festivities, the town is stranded in its rural locale. Already grappling with loss, love and meaning, they must confront an unimaginable discovery.
Jason Schwartzman’s Augie Steenbeck epitomizes the film’s message — a man so lost in grief that he has grown detached from the world. Having recently lost his wife, Augie confronts a reality he cannot understand. Called to Asteroid City to support his son, he bottles up his despair.
Schwartzman’s performance is exceptionally subtle. He delivers each line so nonchalantly that it almost feels robotic — his body language and facial expressions signal tragedy and confusion. Through Augie, Anderson emphasizes the importance of rest; one cannot be fully present without proper emotional healing.
When Augie confides in star actress and fellow parent Midge Campbell (Scarlett Johannson), he finds meaning — and newfound love. Like any world-changing discovery, trauma is unexplainable and unavoidable. By stepping back and forming a grounded connection with Midge, Augie can better accept his past and begin adjusting to the future. While complex in its execution, “Asteroid City’s” message is quite simple — and emphatically human.
That brings me to my only gripe with the film: the ending. Since it juggles several characters, it struggles with completing their arcs. So many moving pieces and interesting choices are left with little meaning in their conclusion. Wes Anderson is an ambitious filmmaker who assuredly left me wanting more, but he could’ve used ten more minutes to flesh out the ending.
The film’s visual layout, including Adam Stockhausen’s top-notch set design, is incredibly pleasing. Every building, vehicle and desert location looks thoughtfully hand-made. The town is vibrant and lived-in, establishing itself as a fully realized character.
My infatuation with “Asteroid City’s” aesthetics extends to Robert Yeoman’s cinematography. The camera work is especially engaging, panning and zooming with complete control. The color palette compliments the desert sun, utilizing muted blues and yellows. The warmth emitted from every frame matches the film’s welcoming tone. Even the black-and-white scenes are nice to look at, representing a contrasting, more unforgiving image of theater production. As awards season kicks into gear, I anticipate adamant support for a campaign in this department.
Featuring a star-studded ensemble, masterful craftsmanship and one of Wes Anderson’s most thoughtful narratives, “Asteroid City” is an utter delight. While it’s not the most accessible film for those unfamiliar with Anderson’s style, seasoned fans will sink their teeth into its magic.
