NO CRYING.

Anderson goes back to his early love of cinema with this perfectly-crafted little pastel, new-wave dollhouse that is filled with so much obvious passion and joy in its construction and yet is populated with really sad characters experiencing these equally funny and painful vignettes around feelings of loneliness, aging, mortality, the death of politics and art. Some I think might find the lack of narrative focus distancing but for me, the winding formal tricks and strangely-detailed detours were the most moving part. They felt like an artist looking for a reason to put up with all those messy, painful feelings and stick around in a time/place they may no longer belong in because who knows when or how you might discover that "new flavor" that reignites your passion.