Isle of Dogs 2018

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Almost ten years after the critical success of Fantastic Mr Fox , Wes Anderson goes back into the animated film to deliver us a poetic message And politics.

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All decidedly succeeded to Wes Anderson. After the triumph of The Grand Budapest Hotel, here is the American wins the Silver Bear for the best director for Dog Island . A hd movie point that marks his return to animation, a genre where he has already combined his aesthetic obsessions while exploring themes that are dear to him. He reiterates today with a work in the most serious tone, but keeps control of each image.

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Based on the threat of canine flu, the mayor of Megasaki orders that all dogs in the city be quarantined on an island full of garbage. From the height of his twelve years, Atari then decides to go look for Spots, his faithful companion. He meets a group of five dogs with strong character, who will help him find him while foiling a conspiracy of great magnitude.

The staging of Fantastic Mr Fox impressed, that of The Isle of Dogs subjugates. Unless you are refractory to this style of animation, it’s hard not to notice the finesse of Anderson’s work. Frame by frame, at 24 per second, the director creates a fascinating world.

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Dominated by ocher and greyish tones, the photograph once again gives a glimpse of the manic care given to the symmetry of the planes. Anderson also juggles with the reliefs and the impression of constantly passing from the second to the third dimension is pregnant.

The story unfolds on the Japanese archipelago, Anderson takes the opportunity to deliver a ibrant tribute to Japanese culture. Here and there, we recognize the “Kaganawa Great Wave” or Kabuki characters, obviously thinking about the impact of Kurosawa on the general cinematography.

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Visual Requiem, The Dog Island is also meant to be a fable. Through the exclusion of canines, often presented as the best friend of man, Anderson infuses a reflection on intolerance and fear of the other. More political than usual, his film is obviously reminiscent of the diplomatic warm-up of America Trump even if the US is not only targeted.

Accustomed to questions related to childhood and memory, Anderson is not a sulphurous filmmaker. So much so that we might have liked even more radicality in his remarks, even if he made a mistake. A remark that applies to much of his filmography, whose mannerism and sweetness sometimes crush the narrative. His search for absolute visual perfection seems indeed to stifle the emergence of an unexpected idea, which can undermine his perfectly ordered universe.

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On the other hand, the American catches up while weaving a beautiful friendship between the dogs and their companion of misfortune. The exceptional casting, composed of Byan Cranston, Edward Norton, Bill Murray or Scarlett Johansson plays for a lot. This should also be the case for their French counterpart, chosen by Anderson himself.

Once again, Anderson delivers a technically flawless sockshare movie. His mastery of stop-motion reaches heights and allows him to offer superb shots, to the extent of his manic visual requirement. True homage to Japanese culture, this film with a more serious tone weaves a filigree political allegory that would have wanted even more committed. We will fall back on a beautiful story of friendship carried by a vocal cast in the tuning fork and orchestration of high flight.

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