A scruffy pack of dogs band together to help the tyrant’s nephew, a 12-year-old boy, search for his lost dog in the island’s vast garbage dump. The tale, written by Anderson and his long-time collaborators Roman Coppola, Jason Schwartzman and Kunichi Nomura, is set in a dystopian future Japanese city, where dogs have been quarantined by a ruling cat-loving tyrant unto a remote island due to a “canine flu” scare. The results are nothing short of magical and looks quite unlike any film I’ve seen. The exquisite details from the set decorations to the graphics permeate every frame. Teams of skilled puppet designers and set fabricators contributed mightily to the filmmaking. The process is painstakingly slow and demands extraordinary craftsmanship. The surprisingly old technique (dating back to 1897) provides a surreal aura to the action-the characters are 3-dimensional objects moving in a real space on constructed environments. In stop-motion animation, each character and object is physically manipulated and then photographed, one frame at a time the illusion of movement is created when the frames are played as a fast sequence.
Fox, Anderson uses the stop-motion animation technique to create Isle of Dogs. His latest, Isle of Dogs, is a genre-bending masterpiece, altogether fresh yet inspired by cinematic staples ranging from film noir, 1950s sci-fi potboilers and classic army movies to more recent manga epics and traditional action flicks.Īs he did in his adaptation of Roald Dahl's Fantastic Mr. Nothing suits Anderson’s unique brand of storytelling better than animation, where every frame is fabricated.
Though his films have sometimes been accused of winking at the audience a little too self-consciously, at their best, they are worlds that are perfect in their style, mood and logic. Wes Anderson is the quintessential auteur, creating stylistic films that reflect his own brand of history, period pieces, eccentric performances and popular culture.
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