The “show vs. tell” dilemma is a key challenge in filmmaking, focusing on whether to convey information visually or through dialogue. It’s a fundamental choice that can make or break a film’s quality. How one answers this question is what separates great movies from bad movies. 

In his recently released short films, Wes Anderson refused to answer this question. He simply broke one of the most fundamental rules of cinema and produced something new. A series of short films that often make the audience feel like they are reading a book. And this is not the only fundamental rule he broke in these films. It is not wrong to say that the 4th wall does not exist anymore. Characters talk directly to audiences’ eyes. Without a doubt, this is unusual, unexpected, and almost revolutionary. Wes Anderson was always known for his distinctive visual style and storytelling and has received both acclaim and criticism for his work. So the question is, how does this new approach reflect his filmmaking, and what should we expect from him in the future? 

Netflix released Wes Anderson’s short films a short time ago. The most anticipated among these experimental films, The Wonderful Story of Henry Sugar, is a brief piece of entertainment at just 37 minutes. The story follows Henry Sugar, a rich man, and his efforts to develop a skill that is almost a superpower which can make him even richer. The narrative is presented through theatrical settings. The film is very fast-paced due to fast-talking characters and constantly changing stage decorations. Anderson’s adaptation is intriguing and uniquely his own but it’s criticized for its two-dimensionality. 

The Swan, released alongside Anderson’s other shorts, includes classic Wes Anderson ingredients in a brief runtime. The narrative forges a strong emotional connection, escalating tension over 17 minutes with a poignant story of bullying and animal cruelty. In his many films, Wes Anderson has adult characters who have child-like behaviours and actions. However, The Swan takes this to another level, showing both the kid character and his adult version together, telling us about the event while it was happening and showing the impact of the years that passed after the event. In short, it is by far the most heartbreaking film by Wes Anderson. 

After watching Asteroid City I was disappointed not liking a Wes Anderson film. I was more disappointed when I found out it became the lowest-rated movie of his career. Mark Kermode wrote in the Guardian that the film was “more irritating than amusing.” This failure increased the importance of the coming Netflix shorts, and while watching them I was relieved. Looks like he learned from his mistakes. And one can wonder if this is a turning point for his career and how the future looks for Wes Anderson.

To analyze this question, we should go back in time. While it may seem unconventional to compare a filmmaker with a painter, I must argue that Wes Anderson is similar to Pablo Picasso in their respective fields because of their unique visual storytelling and a penchant for evoking profound emotions. Both artists are celebrated and often criticized for their unique artistic styles. 

Picasso’s journey through art can be characterized as a series of evolving styles, each marked by distinct phases. His approach evolved and changed over time before he invented his revolutionary art form; Cubism. With this new style, he challenged the perception of beauty, reality and the meaning of art. And of course, he came under fire of criticism. The title of a 1911 article said, “It Requires an Odd Sort of Taste to Appreciate Their Crazy Drawing.” And in 1938, a critic stressed, “Art has always reflected life and still does; the unhappy fact is that at present, it quite generally reflects the worst rather than the best.” For decades his art was criticized. 

Similarly, Anderson’s unconventional approach may be a turning point in his career. With this evolution, Wes Anderson enters his cubic phase as he breaks the rules of filmmaking in many aspects and still finds a way to be successful. Wes Anderson is getting closer to becoming an icon, but he has to prove himself in all his new movies to become one.