“Asteroid City” is not necessarily Wes Anderson’s greatest work, nor his most personal film, tnyfrontrow writes. “But it’s the one in which, by stepping back, he makes himself intellectually and emotionally most present.”
Most of “Asteroid City,” however, is that very play—the one that ostensibly doesn’t exist. It’s performed not in a theatre but in the highly stylized three-dimensional space of a tiny desert town called Asteroid City, population eighty-seven, where a bunch of outsiders converge for a little more than a week and make history. The town—known, if known at all, for its meteorite crater and the meteorite that caused it—is about to welcome a convention of so-called Junior Stargazers.
Another of the Stargazers is a teen named Dinah Campbell , who’s brought there by her mother, Midge Campbell , a movie star who is both hiding out in Asteroid City from personal misfortune and rehearsing a role in a new movie—one in which she plays a troubled woman who takes her own life and reflects on her experience posthumously as a sort of ghost.
Anderson brings this elaborate whirligig of a story—with its powerful strain of grief and its oppressive vision of governmental power, its wondrous sense of surpassing strangeness and its voracious passion for the vitality of everyday doings—to the screen with an aesthetic passion that reflects his personal devotion.
Anderson fills his cast with celebrated actors and others who aren’t celebrated yet but get their coming-out exaltation in his movie, and he films them with unreserved fascination and uninhibited ardor. “Asteroid City” is a movie of full-frontal faces. There’s no director currently working who’s as obsessed with faces as Anderson is.
There’s the question of why so many critics charge Anderson with suppressing emotion through the antics of his artifices, and why this critical attitude has long prevailed and is still taken seriously. Fortunately, “Asteroid City” provides the answer, by way of its framing device. The broadcast hosted by Cranston is also a tale of the theatre itself, and, no less than
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