REVIEW: "Asteroid City"

Genre: Comedy; Drama; Sci-fi.

Director: Wes Anderson

Writer: Wes Anderson & Roman Coppola

Starring: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Jake Ryan, Steve Carell, Hong Chau, Matt Dillon, Willem Dafoe, Tony Revolori, Jeff Goldblum & Margot Robbie

I named Asteroid City one of my most antecipated films for 2023 and when I went to watch it, I must confess I was afraid I was too hyped. In the end, it was not the movie I was expecting - it was different, but in a good way. It took me a couple of days to think about the movie and understand the deep meaning of many of its elements. For those who expect a funny, light and stylish only film, they will find a movie that's also extremely melancholic, that deals with the heavy themes of grief, isolation, artistic frustration and the need for closure and to move on... all in pure Wes Anderson style. In fact, I consider Asteroid City the most fascinating Wes Anderson film, not only visually but also in its core. It's true cinema.

The movie begins with The Host (Bryan Cranston) presenting the movie and its strutcture, but the explanation is not quite effective, because his presentation is the least remarkable aspect of the movie and then the audience gets immersed in the fantastic world of the two storytelling settings. The movie goes back-and-forth between the "Asteroid City" tale itself (a play, with a colorful pastel palette) and the behind-the-scenes setting of the creation and work on the play (beautiful black & white cinematography), with the same actors playing both the actors and their respective characters in the play. The director uses the outer setting to explore the frustrations and ambitions of the creative process and the turmoil of a stage production, while the "inside setting" is used to meditate about grief, the need for closure, loneliness, the human condition and the unexpected bounds. This is Wes Anderson's cinematic Fabergé egg - a piece of extremely beauty with another piece inside it.

But Asteroid City is a movie about loneliness that might draw direct comparison to the COVID outbreak and the following lockdown. The director present us a hand full of characters, but he guides the audience mostly through Augie and Midge's storyline in order to send the deeper messages. What started as an unexpected and quick encounter between these two characters later evolved for a series of window-to-window flirtatious chats that also explores serious subjects (parenthood, the search for perfection in their respective crafts, their human condition, death and abusive relationships). The setting of their chats is also somewhat lyrical: two lonely people in the middle of the desert sharing their inner sadness separated from window-to window. Together, but away from each other. Lonely in the middle of nowhere. But theirs is the need to bound, to search closure from what keeps them from going on with their respective lives. It's a beautiful concept and it's impossible not being fascinated by the way Anderson sets the bloom of Augie and Midge's relationship. 

Of course there are funny moments. In fact, I believe Anderson parodies the criticizing of his own work here - from cartoonish references, to ensembling a cast or to "not understanding" the meaning of some scripted elements - and that's delicious to watch for Wes Anderson's faithful fans. But the biggest laughs come (mostly) from the juvenile cast, specially Augie's children, with an honorable mention to Matt Dillon's small part as a crazy mechanic and Steve Carrell's money-seeking motel manager. There's also a musical moment "Dear Alien (Who Art In Heaven)" (by Jarvis Cocker) that ignites the screen and brings a moment of pure and unpretentious joy. The fun comes from deadpan comedy of Anderson & Coppola's dialogue and the whole cast eats the lines with great style. A note about Margot Robbie, who's a one-scene small wonder in a part I won't describe, but she's very good in her very limited screentime.

Still, the best performances come from the leading actor and actress. Jason Schwartzman has never been this bright since his 1998's breakthrough performance in Rushmore, but here he's dynamite as Jones Hall (the actor portraying Augie) and quite soulful and lost as Augie. Scarlett Johansson is great in the small scenes as Mercedes Ford, but she's some kind of brilliant when she steps in Midge Campbell's shoes: the "true movie star factor"; the way she delivers the deadpan humor; the bathtub scene; how she handles the camera with such confidence... spellbinding! She's comedy gold here and I believe it is one of the very best performances of her career (it sure is her best comedic one).

Visually, Asteroid City is a marvel to behold. Robert Yeoman crafts what might well be the most beautiful cinematography work of Anderson's filmography: the bright vivid pastel colors of the desert setting; the perfect framing; or the black & white style that recalls Hollywood's Golden Age. Other frequent Anderson collaborators also show work in this one: Adam Stockhausen builds two worlds that feel like a dream; Milena Canonero's costume design is quite elegant; and Alexandre Desplat's score might not be showy CAPS LOCK score, but features some rich little sounds that combine with the movie's tone. 

In terms of flaws, I'd wish it spent some time exploring the lockdown weeks and explore the Augie and Midge's relationship and how the other parents and children did cope with the isolation and the "too much time" together. Still, I consider it only a personal preference and not a flaw that much. 

So, I consider Asteroid City to be Wes Anderson's most mature and profound movie to date. It is a movie of great visual elegance, quirky humor, deadpan lines, great acting and a love letter to the power of storytelling, to the complexity of acting and building a character and working on stage. But what really makes Asteroid City a cinematic gem is its singular lyricism and how it compares acting in a play with living life - we might not understand the play, but we must keep acting in the play. It's about the meaning of life, but it doesn't offer answers, only questions - it's the human condition!

RATING: 9,5 / 10

Oscar potential categories:

• Best Picture
• Best Director (Wes Anderson)
• Best Actress (Scarlett Johansson)
• Best Original Screenplay
• Best Editing
• Best Cinematography
• Best Production Design
• Best Costume Design
• Best Original Song ("Dear Alien") (Jarvis Cocker)