World-changing events spectacularly disrupt the itinerary of a Junior Stargazer/Space Cadet convention in an American desert town circa 1955.
The highly anticipated film, Asteroid City, directed by the renowned Wes Anderson and co-written by Anderson and Roman Coppola, features a star-studded cast including Jason Schwartzman, Edward Norton, Margot Robbie, Scarlett Johansson, Adrien Brody, Willem Dafoe, Bryan Cranston, Jeff Goldblum, and Tom Hanks. Despite the pedigree associated with this creative team and cast, Asteroid City leaves you with a sense of disappointment, as it ventured into a realm of artistic complexity that felt overly convoluted.
Anderson's distinct visual style is immediately apparent in this film, with its predominantly pastel palette and meticulous framing. The characters in this cinematic world almost seem engulfed by the vibrant desert landscape that surrounds them, creating a striking visual experience. However, this arresting visual aesthetic tends to overshadow the narrative substance of the film.
The core narrative of Asteroid City is perplexing and challenging to follow. The story is framed within a play within a play, with Edward Norton portraying Conrad Earp, a New York playwright. The film oscillates between black-and-white sequences that delve into the creation and staging of the play and the colourful desert setting, where the fictional town of Asteroid City comes to life. This intricate narrative structure prompts questions about its purpose and relevance to the overarching storyline.
The central plot revolves around a gathering of Science Kids attending a convention in the desert near the eponymous space rock. However, it becomes evident that these young enthusiasts are not the sole interested parties in this peculiar desert setting. The film's storyline is multi-layered, and viewers must engage in multiple viewings to fully decode its complexities. While Wes Anderson is known for his unique storytelling style, Asteroid City pushes the boundaries of narrative complexity to the point of bewilderment.
Additionally, the film employs black-and-white cinematography to capture the meta-moments during the play's creation, contrasting with the vibrant colours used in the play's events. This stark visual contrast accentuates the film's artistic intentions but does little to clarify its intricate narrative. Humour and deadpan comedy are integral aspects of Wes Anderson's films, and Asteroid City leans heavily on these elements.
The film boasts a substantial ensemble cast, a hallmark of Anderson's works, unfortunately, the large ensemble cast results in some characters getting lost amidst the multiple narrative layers, which can disrupt the film's overall coherence. Subplots, while individually intriguing, fail to adequately contribute to the overarching narrative, leading to deliberate pacing that often feels slow.
The film's narrative is thought-provoking but overshadowed by its visually arresting aesthetics. Asteroid City may not attract new enthusiasts, but underscores Wes Anderson's commitment to originality and distinctiveness within the cinematic landscape.
Asteroid City is a visually captivating yet narratively labyrinthine film. It challenges viewers with its layered storytelling and pushes the boundaries of how complex a simple story can be. One can only hope that in future endeavours, Anderson will strike a more harmonious balance between his remarkable visual style and his storytelling. Until then, Asteroid City remains an intriguing curiosity within the filmmaker's repertoire—a peculiar, colourful, and confounding cinematic journey.
Asteroid City was released in NZ cinemas from August 10, 2023