“The French Dispatch”: That’s how good the most anticipated film of the year is

Et is seldom useful to retell a lot of the plot in a film review. For one thing, it’s boring, and for another, it’s annoying. In the case of Wes Anderson’s “The French Dispatch”, his tenth film, which premiered in Cannes on Monday, things are different: on the one hand, it is essential and, on the other, it is impossible.

Essential because the film is, in a sense, made up of its plot; it is shot down, one perfect frame after the next, like a rapid-fire rifle.

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