Intruders

20m 2021

TRAILER

Arthur Howitzer Jr., the editor of the newspaper The French Dispatch, dies suddenly of a heart attack. According to the wishes expressed in his will, publication of the newspaper is immediately suspended following one final farewell issue, in which three articles from past editions of the paper are republished, along with an obituary.","__typename":"Markdown"},"author":"Frank Liesenborgs","__typename":"Plot"},"__typename":"PlotEdge"}],"__typename":"PlotConnection"},"outlines":{"edges":[{"node":{"plotText":{"plaidHtml":"A love letter to journalists set in an outpost of an American newspaper in a fictional twentieth century French city that brings to life a collection of stories published in "The French Dispatch Magazine".","__typename":"Markdown"},"__typename":"Plot"},"__typename":"PlotEdge"}],"__typename":"PlotConnection"},"synopses":{"edges":[{"node":{"plotText":{"plaidHtml":"Arthur Howitzer Jr., the editor of the newspaper The French Dispatch, dies suddenly of a heart attack. According to the wishes expressed in his will, publication of the newspaper is immediately suspended following one final farewell issue, in which three articles from past editions of the paper are republished, along with an obituary.

The Cycling Reporter

Herbsaint Sazerac delivers a cycling tour of the town of Ennui-sur-Blasé, demonstrating several key areas such as the arcade, Le Sans Blague café and a pick-pocket's alleyway. He compares the past and the present of each place, demonstrating how much and yet how little has changed in Ennui over time.

The Concrete Masterpiece

J.K.L. Berensen delivers a lecture at the art gallery of her former employer, Upshur "Maw" Clampette, in which she details the career of Moses Rosenthaler. Rosenthaler, a mentally disturbed artist serving a sentence in the Ennui prison for murder, paints an abstract nude portrait of Simone, a prison officer with whom he develops a burgeoning relationship. Julien Cadazio, an art dealer also serving a sentence for tax evasion, is immediately taken by the painting and buys it despite Rosenthaler's protests. Upon his release, Cadazio convinces his family of art exhibitors to put it on display, and Rosenthaler soon becomes a sensation in the art world. Privately, Rosenthaler struggles with inspiration, and devotes himself to a long-term project.

Three years later, Cadazio, his uncles, Clampette, Berensen, and a mob of artists inspired by Rosenthaler, all frustrated at the lack of further paintings, bribe their way into the prison to confront him, only to discover that his masterpiece is in fact a series of frescoes in the concrete prison hall. Angered that the paintings are irremovable from the prison, Cadazio gets into a physical altercation with Rosenthaler, but soon comes to appreciate the paintings for what they are, and later arranges for the entire room to be airlifted out of the prison into a private museum in Kansas, owned by Clampette. For his actions in halting a prison riot that breaks out during the reveal of the paintings, Rosenthaler is released on probation. Simone and Rosenthaler maintain correspondence following his release.

Revisions to a Manifesto

Lucinda Krementz reports on a student protest breaking out in the streets of Ennui that soon boils over into the "Chessboard Revolution". While the revolution initially is inspired by petty concerns over access to the girls dormitory, the traumatic military conscription of one student, Mitch-Mitch, inspires greater uprising. The students' cause spreads to the working people of Ennui-sur-Blasé.

Despite her insistence on maintaining "journalistic neutrality", Krementz has a brief romance with Zeffirelli, a self-styled leader of the revolt, and secretly helps him write his manifesto and adds an appendix. Juliette, a fellow revolutionary, is unimpressed with his manifesto. After they briefly express their disagreement about its contents, Krementz tells the two to "go make love", which they do.

A few weeks later, Zeffirelli is killed attempting repairs on the tower of a revolutionary pirate radio station, and soon a photograph of his likeness becomes symbolic of the movement. Years later, Krementz adapts the story of Mitch-Mitch's conscription, and Zeffirelli and Juliette's relationship, for a play at the National Theatre.

The Private Dining Room of the Police Commissioner

During a television interview, Roebuck Wright recounts the story of his attending a private dinner with The Commissaire of the Ennui police force, prepared by legendary police officer/chef Lt. Nescaffier. Nescaffier is a famous specialist in a kind of haute cuisine specifically designed to be eaten by working police officers. The dinner is disrupted when the Commissaire's son Gigi is kidnapped and held for ransom by criminals, led by a failed musician called The Chauffeur.

The kidnappers represent the warring criminal syndicates of Ennui-sur-Blasé, and demand the release of an underworld accountant called "The Abacus", who possesses their shared financial records. "The Abacus" is being held in a solitary confinement cell at police headquarters. Wright recollects his own imprisonment in that same cell for his homosexuality, for which he was bailed out by Howitzer and offered a job at the Dispatch.

Following a shoot-out at the kidnapper's hideout, Gigi manages to sneak out a message in Morse code to "send the cook". Lt. Nescaffier is sent into the kidnappers' hideout, ostensibly to provide both them and Gigi with food, but secretly the food is laced with poison. The criminals all succumb to the poison, and Nescaffier just barely survives (due to his strong stomach) after being made to test it first, but The Chauffeur escapes with Gigi, and leads the police on a chase. Gigi manages to escape out of the sunroof and reunites with his father. During his recovery, Nescaffier saves "The Abacus" from starving to death by preparing him an omelette, the prisoner having been totally forgotten in the commotion.

Back at the Dispatch office, Howitzer tells Wright to reinsert a deleted segment. In it, a recovering Nescaffier tells Wright that the taste of the poison was unlike anything he had ever eaten before, before they commiserate over the state of being foreigners in France. Howitzer and Wright disagree on whether this conversationLucinda Krementz reports on a student protest breaking out in the streets of Ennui that soon boils over into the "Chessboard Revolution". While the revolution initially is inspired by petty concerns over access to the girls dormitory, the traumatic military conscription of one student, Mitch-Mitch, inspires greater uprising. The students' cause spreads to the working people of Ennui-sur-Blasé.

Despite her insistence on maintaining "journalistic neutrality", Krementz has a brief romance with Zeffirelli, a self-styled leader of the revolt, and secretly helps him write his manifesto and adds an appendix. Juliette, a fellow revolutionary, is unimpressed with his manifesto. After they briefly express their disagreement about its contents, Krementz tells the two to "go make love", which they do.

A few weeks later, Zeffirelli is killed attempting repairs on the tower of a revolutionary pirate radio station, and soon a photograph of his likeness becomes symbolic of the movement. Years later, Krementz adapts the story of Mitch-Mitch's conscription, and Zeffirelli and Juliette's relationship, for a play at the National Theatre.

Obituary

In an epilogue, the French Dispatch staff mourn Howitzer's death, but set to work putting together a final issue to honor his memory.","__typename":"Markdown"},"__typename":"Plot"},"__typename":"PlotEdge"}],"__typename":"PlotConnection"},"storylineKeywords":{"edges":[{"node":{"legacyId":"journalist","text":"journalist","__typename":"TitleKeyword"},"__typename":"TitleKeywordEdge"},{"node":{"legacyId":"painter","text":"painter","__typename":"TitleKeyword"},"__typename":"TitleKeywordEdge"},{"node":{"legacyId":"woman-poses-nude-for-a-painting","text":"woman poses nude for a painting","__typename":"TitleKeyword"},"__typename":"TitleKeywordEdge"},{"node":{"legacyId":"bicycle","text":"bicycle","__typename":"TitleKeyword"},"__typename":"TitleKeywordEdge"},{"node":{"legacyId":"police","text":"police","__typename":"TitleKeyword"},"__typename":"TitleKeywordEdge"}],"total":111,"__typename":"TitleKeywordConnection"},"taglines":{"edges":[],"total":0,"__typename":"TaglineConnection"},"genres":{"genres":[{"id":"Comedy","text":"Comedy","__typename":"Genre"},{"id":"Drama","text":"Drama","__typename":"Genre"},{"id":"Romance","text":"Romance","__typename":"Genre"}],"__typename":"Genres"},"certificate":{"rating":"R","ratingReason":"Rated R for graphic nudity, some sexual references and language","ratingsBody":{"id":"MPAA","__typename":"RatingsBody"},"__typename":"Certificate"},"parentsGuide":{"guideItems":{"total":21,"__typename":"ParentsGuideConnection"},"__typename":"ParentsGuide"},"triviaTotal":{"total":43,"__typename":"TriviaConnection"},"trivia":{"edges":[{"node":{"text":{"plaidHtml":"In casting Timothée Chalamet as Zeffirelli, Wes Anderson told GQ, "I never had the inconvenience of ever thinking of anybody else for this role even for a second." 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And is it, as a number of reviewers here say, an "homage to journalists?" The journalists in this are actually portrayed as impressionist, seeing and transmitting not the real, but rather their own artificial views of 1960's France.

Stylistically it certainly is apex-Anderson. And that is always enjoyable both in terms of admiring a craft well done and a reward for attentiveness to style. It does approach being finicky, almost cranky at times,. But not too far over the line.

Unfortunately the film's core is a narrative jumble. Actually several narratives jumbled. I can only think this occurred in the editing room, perhaps with so much work there, that the director and editors start to forget that the audience is seeing the film for the first time and that the narratives on the first viewing has to make sense. Even breaking it into four vignettes makes it worse, not better. Look at the treatment of the James Baldwin character: Brilliant subject, brilliant actor, yet the character comes off as superficial.

It is pretty clear Anderson loves The New Yorker of old, the Ross and Shawn eras before it dropped in quality in its evolution into a corporate controlled media in a conglomerate that includes Conde Nast. The real quality of the New Yorker is in its long form (for a magazine) fiction and non-fiction. In fact the modern New Yorker, with current editor Remnick using more reporters than noted writers, is part of the reason why its advertising has dropped, its audience aged, and its once famously unassailable fact checking now a caricature of former quality.

But French Dispatch is *not* an homage to journalists, thank goodness. Anderson clearly mocks them as much as he lauds them. It is really an homage to France, specifically an American impression of France. (French critics have said Dispatch is patronizing, but we will leave that). It is the post-WWII France of the bicycle, baguette, Bardot and beret, albeit without nearly enough cigarettes. Not the 1930's era of Miller and Hemingway in Paris, unfortunately, as that would not have fit use of an American/The New Yorker point of view device. But the less interesting 1950's-60's period. Strangely enough with no detectable nod by Andersen to the most influential cultural export of the time -- French film.

Overall Dispatch is a worthwhile viewing. Certainly for the technical adherence to Anderson's own single occupancy genre. The quirkiness has a bit of a forced element to it. But not artificial or crammed in, not overly so. The main problem is instead of turning pages, as one would do reading The New Yorker, there is more of a feeling of being in a labyrinth without Ariadne's thread, or a general disjointedness.

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A man lives a lonely, exquisite lifestyle in his large, empty apartment. He hears a noise, of a man stumbling through the window in his bedroom. The man has a gun, and he shakes while he holds it. What follows is a tender, complex exploration of lust and desire between two very talented performers and the faultless Direction of Mathews.


Director: Travis Mathews

Genres: Drama, Short, Thriller

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