Wes Anderson will always be a tourist. No matter where his characters go, regardless of story, Anderson is always an outsider in his own films. More often than not this outsider-looking in viewpoint, unlocked through his exacting eye for detail, (especially color and symmetry) imbues his films with the magic that proves him to be one of cinema’s great auteurs. Why then, does a white exchange student from Cincinnati play the savior role in a solidly Japanese film? Through this character Anderson looks to belong to his own film, but it is precisely his outsider perspective that we so value.
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