Anderson has been refining the visual sensibility seen in The Phoenician Scheme for years, with each successive film feeling like a slightly more concentrated version of what came before. It’s a style that has its detractors, and I doubt Anderson will ever swing back to something resembling a “normal” indie film. But even I, as a long-time fan of Anderson, found myself feeling a little claustrophobic during this latest release. As much as I love the filmmaker’s style, the world of Zsa-zsa Korda felt like it deserved a little more freedom, with more location shooting in the model of The Life Aquatic with Steve Zissou or Moonrise Kingdom.

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