Filmmaker Magazine
The Rome Film Festival had a striking fresh look this year under the direction of its new artistic director Antonio Monda. The redesigned fest had a slew of hot films and top-tier tributes. But at the core of the new “festa,” or celebration of cinema, was a series of high-profile conversations with leaders in the arts.
One of the main highlights of the fest was a conversation with Wes Anderson and novelist Donna Tartt in which they discussed their love of Italian films. While Tartt went in depth on her love of Pier Paolo Pasolini’s Medea, Max Ophuls’ Everybody’s Woman, and Paolo Sorrentino’s The Great Beauty, Anderson gushed on his favorite Vittorio De Sica film, The Gold of Naples.
Wes Anderson has struck again. After his last trip to the animated film cinema, he returns THE FRENCH DISPATCH not just back to his roots. He digs them up and puts them on display, so that the tragicomedy, based on four stories from the American intellectual newspaper The New Yorker, becomes a pure Wes Anderson …
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Sure would love to be a fly on the wall of whatever room Wes Anderson thinks up his films.