Sunday’s Review 21: Moonrise Kingdom


Although matter may change its form or shape, its mass always remains the same. I guess we could say Wes Anderson’s movies answer to the exact opposite of Lavoisier’s maxim for physics. Although the mass of absurdity remains the same, matter changes its form and shape. As happy to get back to the director’s witty and offbeat spirit as I was to discover a brand new style of story, Moonrise Kingdom felt both fresh and familiar.  

Answering to the “feel-good movie” category, the director built an all display designed to please our (or at least my) minds: Characters full of character, bright colors and round shapes, details, unseemliness, incongruities… I guess, if you are a really organized mind that needs, wants or expects common sense, that you won’t enjoy this movie. That gives it the limit anybody can ascribe to the film. It’s not a universal pleaser, is not suited for any mind.

 If you enjoyed most Wes Anderson’s work so far, you shall not be disappointed but otherwise, I’m advise you to get a pick at the movie trailer, it sets the mood quite rightly. The movie was running in the official competition for Cannes Festival, which ended today giving the “Palme d’Or” to Haneke’s Amour. It didn’t get any price and I must say I’m kind of relieved. The only reason I feel that way is that, last year, I finally thought I got what this festival was aiming in terms of movie style, interpretation or realization. If Moonrise Kingdom had got a price this year it would have entirely broke my theory because it doesn’t fit for one bit.

So, surprisingly enough, I am glad a film, I really liked and have a high opinion on, didn’t get any recognition from a bunch of highly respected Figures of the7th Art.



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