[Review] Toni Erdmann (2016)

"She's hardly at home anymore, so I hired a substitute daughter. Now the question is, who pays her." – Winfried Conradi

Out of every great thing happened to the cinema this year: a musical comedy coming from the mind of a young auteur, a dramatic play adaptation helmed by two most respected Hollywood veterans, a neo-western heist-crime tale of loss and love, an empowering French revenge scheme from a rape survivor, to a highly entertaining animated film that speaks highly about a sickening corner of world's society, then there comes this 3-hour-long German-Austrian comedy built of bizarreness and lunacy. It involves a giant furry costume, an awkward naked party, an alter ego with a cheap wig and fake teeth, public farting, and the list goes on. Yet, this seemingly pointless parade of silliness has transformed into something unexpected. A festival darling, a critically acclaimed comedy, and a current top contender for Oscar's Best Foreign Language Film, Toni Erdmann easily has it all to join the best of the year's best. But, with such a high level of idiosyncrasy that's only enticing to certain viewers, could it actually make the cut?

Winfried Conradi (Peter Simonischek) is a piano teacher and a father of one, Ines (Sandra Hüller), whom he doesn't see much because of her busy professional life. After the death of his old dog, he tries to reconnect with her once again. He pays her a surprise visit in Bucharest, but instead, Ines is annoyed by her father's practical jokes involving corny pranks and jabs at her routine lifestyle of meetings and paperwork. Realizing their relationship doesn't work at all, Winfried quits her life only to come back as Toni Erdmann: Winfried's flashy alter ego. Disguised in a tacky suit, weird wig and fake teeth, Toni barges into Ines' work circle, claiming to be her CEO's life coach. As Toni, Winfried doesn't hold back, and Ines meets the challenge. The harder they push, the closer they become. In all the madness, Ines begins to see that her eccentric father deserves a place in her life.

How many times have we ever witnessed practical jokes in films? From today's modern cinema, we've seen those japes in Neighbors and its follow-up Sorority Rising, or we can go back to the 70s, where its horrifying and cruel prank of blood's pig on Carrie White in Carrie still haunts you to sleep. But no other than Toni Edrmann could actually pull it the same way it does. Toni Erdmann's thorough tone is built of chuckling and giggling, but the film itself retains to live up to its potential by playing it right: they go deeper than that. These characters thrive as the humor kicks in, making the laughs essential. Instead of being cherries on top, they are used to create dynamics in every personality, creating frictions and bringing them closer.

It doesn't stop there. The use of its offbeat, quirky humor is simply brilliant. As a way to unearth its core, the quirkiness might not be appealing to some, but writer-director Maren Ade, in the cleverest way possible, manages to maintain its humor down-to-earth, even with such a great amount of eccentricity, the film relates to each viewer rather easily. This impact is a result of Ade's well-written and carefully constructed script. The comedy isn't made for entertainment purposes only, it's the ultimate key to gain its main story arc, as these comical aspects capture the soul and the spirit of the story perfectly. Instead of overshadowing each other, the humor takes a big part in unfolding its dramatic portion, cloaking the anguish, and revealing its one true aim: the heart.

Spanning almost 3 hours of runtime, oddly enough, Toni Erdmann never seems to be overlong. Maren Ade is without a doubt capable of captaining this gem to be a pleasant, flowy ride with just the right beat of pacing. Yes, it's a segmented piece of comedy, but it's never tiring to see these two father and daughter contradict one another: from almost ruining his daughter's chance of a business deal, heating up over firing employees, to a strange naked party involving giant furry costume and well, naked people. In its 3 hour duration, Ade shows her brilliance as she carries out not only an amusing flick but inside: a humane look of a bittersweet family relationship. It demands our patience, and for sure is something easier said than done, but its offer, in the end, is in no way rejectable: a rewarding experience.

As we dive deep down through the story, the camera tightens the mood, building up its relationship to a result that's both delicate and genuine. Gradually, the feeling of attachment is compiled through protagonists' frictions and crossroads in basically anything: a sense of humor, thoughts, to simply the feel of unease towards each other. On paper, not much significance is shown here, but in Ade's cold hands, she successfully shows that a fully realized story is coming from its fundamental core and not its biggest revelation. It's not about creating one defining important moment that affects the whole narrative, but it's coming from those simple things without forgetting their essence: it could be as simple and as absurd as a visit to someone's easter egg dyeing party, or even belting out Whitney Houston's Greatest Love of All in full energy. Their dynamic chemistry is after all defined by these pivotal aspects, creating a nuanced, authentic tone throughout the film.

Toni Erdmann incongruously opens with a little scene involving several personas of Conradi's. It's a strange welcome and hilarious introduction to our main protagonist and the film's ambitious concept. Winfried Conradi, in his everyday form, is a music teacher, a divorced father of one, that despite his jocular personality is still an ordinary man. In his ugly cheap wig and obvious fake teeth, he is Toni Erdmann, a life coach and a consultant who is only a disguise to reconnect with his daughter. Not only are his actions hilarious, but also genuinely moving as his doings contribute greatly to the film's quintessence. The line "she's hardly at home anymore, so I hired a substitute daughter," might come across as both the funniest and most sarcastic joke of the year, but at the bottom, it's a call of sorrow revealed in such ingenuity.

Filled with sarcasm and irony, Toni Erdmann also works as a satirical portrait of the idealistic society and the unexpected anomaly against those considered normal. Often against conventions, seeking the perfection and living under pressure, the youth is represented by Ines, a workaholic whose phone becomes her primary need, who is constrained to be super nice around the people she actually loathes, and whose professional achievement becomes her life goal: she's not under anyone's pressure but hers. She chooses to avoid her personal life, seems to misunderstand her father's presence (actually, so do we), but deep down with her father around, she becomes this individual she always resents: an actual person. Her father anyway, is a father who never fulfills what is expected of him. A loving, but a misunderstood person whose persona might appear out of place to some. They both struggle as a person, and while the former tries to escape her routine life, the latter tries to be comprehended, and through Ade's magnificent writing, she underlines both into a true-to-life relationship of theirs.

As a practical joker and a father Winfried Conradi, and as an eccentric alter ego Toni Erdmann, Peter Simonischek brings his A-game. We don't really see this kind of performance really often: a socially awkward who is glowing in his charisma and sense of humor. While the script deliberately provides multidimensional causes behind his every action, he manages to accomplish something larger-than-life, a believable with often moving result. Sandra Hüller also deserves equal praise, with a performance of a hard-working businesswoman, she is a wonder to behold. Through her manners, her loneliness is crystal clear, she's an ambitious person who basically avoids any other social relation unless it's intended for the benefit of her business favor. They display something that's not only engrossing but also darkly humorous and rather affectionate while being figures who are estranged from their own life.

Lengthy with a cause, Toni Erdmann tells you a tale of silliness with depth, that's not only profound but also charming and delightful on its surface. While providing hoots of laughter, Toni Erdmann is still a sincere heart in full display, a tender and unconventional approach to human relationship without even masquerading under anyone's sentimentality. Surely, this 3-hour little piece of life will take you back to the most real human nature and doesn't hold back in giving us its fruitful and fulfilling inwardness. Surrounded by its solid cast, Toni Erdmann puts its characters into a fascinating trip of sardonic tightrope served in a biting sense. Even if it's not everyone's cup of tea, the outcome is still an immaculate and multifaceted character study, a beautiful, intimate, and dazzling frame of life that's exceptionally written and wonderfully acted with brilliant use of humor in agony, a heartfelt homage to love and its bonds.

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Rizky Muzakki Thursday, January 05, 2017  No comment

[List] 74th Golden Globe Awards: The Nominees Unveiled

Pada 12 Desember 2016, atau sehari setelah penyelenggaraan Critics' Choice Awards 2016 yang sekaligus menandai dimulainya awards season tahun ini, Hollywood Foreign Press Association kembali mengumumkan daftar nominasi calon pemenang Golden Globe 2017 nanti. Gelaran Golden Globe ke 74 ini sendiri akan diadakan 8 Januari tahun depan, dengan pembawa acara The Tonight Show, Jimmy Fallon, sebagai host. Pada kategori Best Motion Picture – Drama, Hacksaw Ridge, Hell or High Water, Machester by the Sea, dan Moonlight berhasil menduduki 4 nominasi, sementara Lion yang sebelumnya tidak terlalu diperhitungkan juga mampu meraih nominasi, menyingkirkan kontender lain yang dianggap lebih kuat, seperti Fences dan Silence. Sementara Fences masih mampu meraih 2 nominasi di kategori Best Actor (Denzel Washington) dan Best Supporting Actress (Viola Davis), Silence secara mengejutkan harus rela pulang tanpa nominasi kali ini, bahkan bagi Martin Scorsese maupun Liam Neeson. Di lain sisi, Nocturnal Animals mendapatkan apresiasi lebih dari HFPA, dengan munculnya nama Tom Ford dalam Best Director dan Aaron Taylor-Johnson dalam Best Supporting Actor. Sementara dari ranah film komedi dan musikal, 20th Century Woman, Florence Foster Jenkins, Deadpool, dan peraih nominasi terbanyak kali ini (7 nominasi), La La Land, berhasil masuk daftar nominasi film terbaik tahun ini. 

Beralih ke layar kaca televisi, dalam Best Drama merupakan pertarungan sengit antara HBO dengan Netflix, dengan masuknya 2 tv series andalan HBO saat ini, Game of Thrones dan Westworld, dengan 2 tv series teranyar Netflix, Stranger Things serta The Crown dalam nominasi melengkapi tv series NBC, This is Us. Sementara itu, nama Viola Davis, Tatiana Maslany, dan Taraji P. Henson secara mengejutkan harus absen bersama dalam Best Actress in Drama TV Series kali ini, dengan menyambut nama baru seperti Evan Rachel Woods, Claire Foy, dan Winona Ryder. Hal yang sama juga terjadi dalam Best Supporting Actor, dimana nama unggulan seperti Kit Harington dan Tobias Menzies gagal masuk daftar. Sementara series gagasan Ryan Murphy, The People v. O.J. Simpson: American Crime Story, mampu memborong 5 nominasi–as expected, sayangnya hal berbeda terjadi pada series buatan ia lainnya, American Horror Story: Roanoke, yang pulang dengan tangan hampa. Berikut merupakan daftar lengkap nominasi Golden Globe Awards 2017.

Best Motion Picture – Drama:
“Hacksaw Ridge”
“Hell Or High Water”
“Lion”
“Manchester By The Sea”
“Moonlight”

Best Motion Picture – Musical or Comedy:
“20th Century Women”
“Deadpool”
“La La Land”
“Florence Foster Jenkins”
“Sing Street”

Best Performance by an Actor in a Motion Picture – Drama:
Casey Affleck – “Manchester By The Sea”
Joel Edgerton – “Loving”
Andrew Garfield – “Hacksaw Ridge”
Viggo Mortensen –  “Captain Fantastic”
Denzel Washington – “Fences”

Best Performance by an Actress in a Motion Picture – Drama:
Amy Adams – “Arrival”
Jessica Chastain – “Miss Sloane”
Isabelle Huppert – “Elle”
Ruth Negga – “Loving”
Natalie Portman – “Jackie”

Best Performance by an Actor in a Motion Picture – Musical or Comedy:
Colin Farrell – “The Lobster”
Ryan Gosling – “La La Land”
Hugh Grant – “Florence Foster Jenkins”
Jonah Hill – “War Dogs”
Ryan Reynolds – “Deadpool”

Best Performance by an Actress in a Motion Picture – Musical or Comedy:
Annette Bening – “20th Century Women”
Lily Collins – “Rules Don’t Apply”
Hailee Steinfeld – “The Edge of Seventeen”
Emma Stone – “La La Land”
Meryl Streep – “Florence Foster Jenkins”

Best Performance by an Actor in a Supporting Role in a Motion Picture:
Mahershala Ali – “Moonlight”
Jeff Bridges – “Hell or High Water”
Simon Helberg – “Florence Foster Jenkins”
Dev Patel – “Lion”
Aaron Taylor-Johnson – “Nocturnal Animals”

Best Performance by an Actress in a Supporting Role in a Motion Picture:
Viola Davis – “Fences”
Naomie Harris – “Moonlight”
Nicole Kidman – “Lion”
Octavia Spencer – “Hidden Figures”
Michelle Williams – “Manchester by the Sea”

Best Director – Motion Picture:
Damien Chazelle – “La La Land”
Tom Ford – “Nocturnal Animals”
Mel Gibson – “Hacksaw Ridge”
Barry Jenkins – “Moonlight”
Kenneth Lonergan – “Manchester by the Sea”

Best Screenplay:
“La La Land”
“Nocturnal Animals”
“Moonlight”
“Manchester By The Sea”
“Hell Or High Water”

Best Motion Picture – Foreign Language:
“Divines” – France
“Elle” – France
“Neruda” – Chile
“The Salesman” – Iran/France
“Toni Erdmann” – Germany

Best Motion Picture – Animated:
“Kubo and the Two Strings”
“Moana”
“My Life As A Zucchini”
“Sing”
“Zootopia”

Best Original Song – Motion Picture:
“Can’t Stop The Feeling” – “Trolls”
“City Of Stars” – La La Land
“Faith” – Sing
“Gold” – Gold
“How Far I’ll Go” – Moana

Best Original Score – Motion Picture:
Nicholas Britell– “Moonlight”
Justin Hurwitz – “La La Land”
Johann Johannsson – “Arrival”
Dustin O’Halloran, Hauschka– “Lion”
Hans Zimmer, Pharrell Williams, Benjamin Wallfisch – “Hidden Figures”

Best Television Series – Drama:
“The Crown”
“Game Of Thrones”
“Stranger Things”
“This Is Us”
“Westworld”

Best Television Series – Musical or Comedy:
“Atlanta”
“Black-ish”
“Mozart In The Jungle”
“Transparent”
“Veep”

Best Performance by an Actor in a Television Series – Drama:
Rami Malek – “Mr. Robot”
Bob Odenkirk – “Better Call Saul”
Matthew Rhys – “The Americans”
Liev Schreiber – “Ray Donovan”
Billy Bob Thornton – “Goliath”

Best Performance by an Actress In A Television Series – Drama:
Caitriona Balfe – “Outlander”
Claire Foy – “The Crown”
Keri Russell – “The Americans”
Winona Ryder – “Stranger Things”
Evan Rachel Wood – “Westworld”

Best Performance by an Actor in a Television Series – Musical or Comedy:
Anthony Anderson – “Black-ish”
Gael García Bernal – “Mozart in the Jungle”
Donald Glover – “Atlanta”
Nick Nolte – “Graves”
Jeffrey Tambor – “Transparent”

Best Performance by an Actress in a Television Series – Musical or Comedy:
Rachel Bloom – “Crazy Ex-Girlfriend”
Julia Louis-Dreyfus – “Veep”
Sarah Jessica Parker – “Divorce”
Issa Rae – “Insecure”
Gina Rodriguez – “Jane the Virgin”
Tracee Ellis-Ross – “Black-ish”

Best Limited Series:
“American Crime”
“The Dresser”
“The Night Manager”
“The Night Of”
“The People v O.J. Simpson: American Crime Story”

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television:
Riz Ahmed – “The Night Of”
Bryan Cranston – “All The Way”
Tom Hiddleston – “The Night Manager”
John Turturro – “The Night Of”
Courtney B. Vance – “The People v O.J. Simpson: American Crime Story”

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television:
Felicity Huffman – “American Crime”
Riley Keough – “The Girlfriend Experience”
Sarah Paulson – “The People v O.J. Simpson: American Crime Story”
Charlotte Rampling – “London Spy”
Thandie Newton – “Westworld”

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television:
Olivia Colman – “The Night Manager”
Lena Headey – “Game Of Thrones”
Chrissy Metz – “This Is Us”
Mandy Moore – “This Is Us”
Kerry Washington – “Confirmation”

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television:
Sterling K Brown – “The People v O.J. Simpson: American Crime Story”
Hugh Laurie – “The Night Manager”
John Lithgow – “The Crown”
Christian Slater – “Mr. Robot”
John Travolta – “The People v O.J. Simpson: American Crime Story"

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Rizky Muzakki Monday, December 12, 2016  1 comment

[Review] The Grand Budapest Hotel (2014)

"I go to bed with all my friends." ~ M. Gustave

Tak banyak film yang dapat kita ketahui secara langsung siapa sutradara di baliknya hanya dengan menontonnya dengan cukup seksama. Salah satu di antaranya adalah Quentin Tarantino. Selama ini, Tarantino memang dikenal dengan dialog-dialognya yang ceplas-ceplos, penuh dengan humor hitam, dan yang pasti: penuh kekerasan. Sementara Alfred Hitchcock, di samping film-filmnya yang kebanyakan melibatkan 3 formula wajib: intensitas tinggi, romansa matang, dan wanita pirang, ia juga dikenal cukup narsistik, karena sering muncul sebagai cameo di sebagian besar film-filmnya. Tapi, mungkin ada lagi sutradara lain yang dapat dikenali karyanya bukan lagi dengan menontonnya secara seksama, melainkan cukup dengan melihatnya saja: Wes Anderson.

Bagi para penggemar karyanya, pasti tahu mengapa film-film hasil racikannya mampu diidentifikasi dengan sangat mudah. Bagi yang belum, kami akan membicarakannya nanti. Yang jelas, ia memang dikenal lewat komedi-komedi yang digarapnya. Ia adalah orang dibalik suksesnya Fantastic Mr. Fox, The Royal Tenenbaums, hingga Rushmore. Dua tahun yang lalu, ia sempat kembali lewat salah satu film terbaik di tahun itu, Moonrise Kingdom, komedi tentang anak pramuka yang kabur bersama kekasihnya, di mana filmnya dipuji habis-habisan berkat kemasana dan komedinya yang unik dan memanjakan mata. Kini, masih setia dengan komedinya yang khas, ia hadir lagi dengan The Grand Budapest Hotel.

Jangan tertipu namanya, The Grand Budapest Hotel bukan terletak di Budapest, melainkan sebuah republik bernama Republik Zubrowka. Dikelola oleh seorang concierge profesional bernama Monsieur Gustave (Ralph Fiennes), di tangannya ia mampu menjadikan hotel ini menjadi hotel kenamaan dengan fasilitas bintang lima. Dengan ketertarikannya dengan wanita yang jauh (sangat jauh) lebih tua, ia menjalin hubungan dengan nenek berusia 84 tahun, Madame D. (Tilda Swinton). Tragedi datang ketika Madame D. ditemukan tewas diracun, dan anak Madame yang gila harta, Dmitri (Adrien Brody), menuduh Gustave telah membunuhnya. Bersama anak buah kepecayaannya, seorang lobby boy baru bernama Zero Moustafa (Tony Revolori), mereka memulai petualangan dan lari dari kejaran sang pembunuh berdarah dingin suruhan Dmitri, Jopling (Willem Dafoe).

Salah satu kekuatan Wes Anderson dalam mengemas setiap filmnya adalah visual storytelling. Tak sekadar dengan naskah baik dan cast yang mumpuni, setiap aspek dalam film terasa begitu krusial. Setiap unsur dalam film turut ambil bagian dalam menceritakan setiap kisah. Jadi, bagi anda yang masih asing dengan namanya, jangan heran kalau The Grand Budapest Hotel dikemas dengan visual tingkat tinggi. Ya, bukan hanya dikenal karena narasinya yang identik dengan kata 'quirky', signature work khas Anderson juga memiliki hal lain yang begitu mencolok, yaitu visualnya yang memanjakan mata, tapi tanpa meninggalkan kata 'quirky' itu sendiri.

Sekalipun Budapest memang merupakan ibukota Hungaria, tapi Grand Budapest Hotel memang hotel fiktif di wilayah fiktif, Republik Zubrowka. Dari sini, itu hanyalah awal bagi Anderson untuk menghidupkan dunia fiktifnya menjadi sebuah dunia yang sesak akan imajinasi liar. Ya, dunia dongeng a la Anderson dalam The Grand Budapest Hotel lagi-lagi hadir dengan tone yang unik, terkesan vintage namun digarap secara fresh dan hangat. Sinematografinya melibatkan angle-angle rupawan yang menawarkan banyak side tracking shot cantik dengan proporsi simetris sempurna. Production design hingga costume design dikemas dengan penuh warna dan seksama. Musiknya muncul untuk memeriahkan suasana '60an yang telah kental dengan lantunan nada orkestra penuh permainan musik old-fashioned Eropa karya Alexander Desplat yang makin mengukuhkan suasananya. Hasilnya? Sebuah perpaduan visual menawan, cantik, antik, tapi tetap unik.

Tapi, semua tentang Grand Budapest Hotel tak terbatas pada bagaimana ia mengemas visual film ini dengan imajinasi ajaib Wes Anderson. Ini juga bagaimana ia menciptakan sebuah kisah komikal tak biasa yang berbalut kemasan absurd. Narasinya cukup unik yang dibuka dengan seorang wanita yang membaca sebuah novel, kemudian point-of-view akan terus berganti, hingga mencapai mata seorang lobby boy bernama Zero. Komedinya menawan dengan dry humor yang offbeat dan unik, ampuh menghasilkan banyak tawa dalam atmosfer yang awkward serta plot yang hadir tanpa memikirkan akal sehat. Porsi 'kucing-kucingan' mampu dibubuhi dengan petualangan menyenangkan dan humor yang meledak-ledak. Ada sedikit kegelapan di dalamnya, di mana Wes melibatkan beberapa kekerasan dan tragedi: dari darah, pembunuhan, potongan jari, hingga kepala yang terpenggal. Tapi, di samping semua itu, ada drama yang emosional dan jujur, memancarkan kehangatan dan hati yang sebenarnya dalam kisah ini.

Goal-nya bukan untuk membuat film dengan kisah serealistis mungkin, melainkan membuatnya seimajinatif mungkin, menyesuaikan dunia liar ajaib yang dibentuk oleh Wes Anderson. Hasilnya, seperti yang kita lihat pada Moonrise Kingdom, beberapa subplot memang tampil nonsense dan terkesan mengabaikan akal sehat. Namun, tentu ini sama sekali bukan masalah, dan bukan pula berarti ia lantas meninggalkan nalar. Ada satu waktu ketika ia membangun suasana satirikal, dengan tetap mempertahankan atmosfer komikal, namun pada akhirnya sukses menyentil isu-isu nyata tersebut dengan lembut. Ya, The Grand Budapest Hotel memang tak hanya bertumpu pada dry humor yang efektif, ia punya segudang amunisi: ide-idenya yang dihiasi parodi, satir komikal, petualangan menyenangkan, tragedi kelam, sejarah hitam Eropa, romansa melankoli, hingga drama jujurnya. Sekalipun tak menghadirkan plot yang benar-benar baru, namun setiap lapisan kisahnya begitu menggigit dengan imajinasi liar dan pacing lembut yang membuat keseluruhan film meniupkan hawa segar.

Tak sampai di situ, ada hal lain yang membuat The Grand Budapest Hotel tampil kokoh: karakter. Lewat narasinya kita diperkenalkan dengan Zero, seorang lobby boy canggung berdarah India yang sangat patuh dengan topi bertuliskan 'lobby boy' yang selalu setia berda di kepalanya, berhasil diperankan dengan baik oleh aktor remaja Tony Revolori. Lewat mata Zero pula, kita dikenalkan dengan sang karakter utama yang lovable, Monsieur Gustave, seorang cocierge sebuah hotel kenamaan, The Grand Budapest Hotel, yang merupakan pribadi tangkas, penuh perhitungan, profesional, harum, dengan gaya bicara cepat dan ceplas-ceplos, namun dengan intonasi yang begitu lembut. Mampu dipotret dengan sempurna oleh Ralph Fiennes, ia adalah sosok charming, eksentrik, sopan meski mulutnya penuh lontaran F-bomb, hati dari keseluruhan film. 

Sisanya, anda akan melihat para cast langganan Wes Anderson. Nama pertama tentunya adalah Bill Murray, yang entah sudah berapa kali mendapat tempat di film karya Anderson. Porsinya kecil, namun tetap menonjol dengan pembawaan tenangnya. Ada pula Tilda Swinton yang penuh make up, dengan menakjubkan berhasil memerankan seorang nenek 84 tahun, Madame D. yang mencuri perhatian, yang tak lain merupakan kekasih M. Gustave. Di lain pihak, ada Saoirse Ronan, aktris muda pemegang nominasi Oscar yang baru pertama kali ambil bagian dalam film garapan Wes, sebagai Agatha, love interest Zero yang tangguh dengan tanda lahir berbentuk negara Meksiko (yes, literally!). Tak perlu dibahas satu-persatu, tapi dengan cast yang begitu besar dan penuh akan talenta, Wes Anderson mampu memberikan ruang cukup bagi para karakternya. Salah satu ensemble cast terbaik tahun ini!

Kembali, Wes Anderson menghadirkan sebuah karya yang berbalut dunia ciptaannya yang kaya visual maha cantik dan imajinasi tingkat tinggi. Narasinya unik dengan pengemasan quirky yang diisi oleh karakter-karakter loveable dan eksentrik yang mampu dimainkan dengan baik oleh para cast-nya. Sebagai komedi, ia menawarkan sense of humor khas Wes Anderson yang penuh warna dan tak biasa. Katakanlah aneh, tapi berkat keanehannya pula, komedi ini mampu bersinar terang dibanding lainnya. Petualangannya begitu seru dengan segala keabnormalannya yang berhasil dengan gemilang. Namun, dibalik itu semua, ada drama yang memikat, emosional dan penuh cinta, yang menjadi pondasi kokoh dari segala yang Anderson angkat dalam film ini. Nonsense, liar, imaginatif, aneh, cerdas, menyenangkan, memikat, hingga infeksius, itu hanyalah sekian dari banyak alasan mengapa The Grand Budapest Hotel pantas dikatakan sebagai salah satu komedi terbaik yang pernah ada.

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Rizky Muzakki Wednesday, June 04, 2014  5 comments