Country: United States
Category: Animation, Adventure, Comedy
Release Date: 30 March, 2018
Director: Wes Anderson
Starring: Frances McDormand, Scarlett Johansson, Greta Gerwig
Age Restriction: 18 years
Duration: 110 minutes
Box Office: $
Isle of Dogs is a 2018 American Empirical Pictures and Indian Paintbrush. Isle of Dogs is scheduled to be released on March 30, 2018.
Which filmmaker would be more appropriate than the American Wes Anderson to make a puppet film? His various feature films in real life appear as many incursions into doll houses, whether it's his staging choices, the fetishistic care given to the sets, the look of the characters and his way of life. assume and exploit artificiality. The Grand Budapest Hotel, his latest feature film, was perhaps the clearest expression - it feels like entering the film as one would open an adorable pink house under a tree. Dog Island is not Anderson's first foray into stop-motion animation. Nearly 10 years ago, the director signed the aptly named Fantastic Mr Fox, but the visual style as well as the references are very different in this Dog Island, which borrows from bunraku as a whole fringe of Japanese cinema.
From its first plans, The Dog Island is beautiful to fall. The textures, the colors, the design of the models - everything is absolutely adorable, open to daydreaming, and immediately made alive by the camera movements signature of the director. Because we are elsewhere, in Japan as we have said, in the imaginary handyman of a Michel Gondry sometimes, but we are primarily in a pure film by Wes Anderson; like the vocal cast of regulars like winks at his own cinema - we believe the time of a plan to rewind the wolf seen off in Fantastic Mr Fox.
The film, visually, is of a permanent inventiveness in its shots - we often forget that behind the animation there is a work of staging as worthy of interest as in the live cinema, what L'Île to the dogs recalls at every moment. With its particular mood, the film is against the current of a whole stream of industrial animation that does not know how to take its time and who knows at best only the precipitation, at worst that hysteria to give the impression that something is happening on the screen. Wes Anderson achieves this here at his own pace, conducive to both an all-whimsical and an all-poetic ... but which leaves enough room for an obvious political allegory. It's a dimly-lit dimension in The Grand Budapest Hotel, an elegant comedy about a world ready to rock into barbarity. It's even more straightforward here, a surprise in a film that one might think destined for a younger audience - but it is also a proof of the high esteem that the director, very generous, has of his audience. This new film, at all levels, is a feast.