Film Style Of Wes Anderson's 'Moonrise Kingdom'

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It is clear that every film director has his or her own style; whether it be subtle motifs, or an entirely separate genre, a director’s personal style shines through. Wes Anderson, the director responsible for Moonrise Kingdom, falls into the latter of the two types of directorial style. His filmic style is unique in so many ways, and his films are typically classified as just “A Wes Anderson Film”. While this essay is not a generic criticism or analysis, Anderson’s films are famous for their “quirky and humorous” style and have consistently won and have been nominated for countless awards. His films also produce a “brand of awkward and sometimes sad comedy” that is found in each one of his films (Biography.com). Wes Anderson’s visual styles is one of his most notable and identifying characteristics. While much of this can be attributed to his cinematographer, Robert Yeoman, the both of them have been partners in crime for decades. The typical Wes Anderson style includes flat compositions, a perfect symmetry, and eccentric color pallets (Aldredge). Moonrise Kingdom is no exception these defining elements and is one of Anderson’s more famous films because of its exceptional cinematography. Moonrise Kingdom is a film about two twelve-year-olds, living on the island of New Penzance. The boy and girl are pen pals— and lovers. The boy is a Khaki Scout at a summer camp, while the girl lives in a large house on the opposite end of the island. They plan an extravagant runaway plan,

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