God Shows Up… roughly:   the Gospel according to Wes Anderson

God Shows Up… roughly: the Gospel according to Wes Anderson

When Wes Anderson’s film The Life Aquatic with Steve Zissou came out on DVD in 2004, in the extras it included an interview Anderson and co-writer Noah Baumbach did with Italian film critic Antonio Monda. Typically, it’s slightly absurdist, with the odd moment of sincerity, like the time when Monda asks Anderson and Baumbach if they believe in God. “No,” replies Baumbach without hesitation. So Monda directs his question to Anderson, “What about you?” “I think so,” Anderson says sweetly. Baumbach looks surprised. “Really?” Anderson demurs only slightly, “Yeah, I mean… I mean, roughly.” To me that seems like an entirely appropriate answer for a filmmaker who addresses huge issues like the nature of family, human brokenness, grief and depression, the challenges of under-parented adults, and a hunger for purpose, but in whose films God only appears obliquely. Critic David Zahl writes, “The very mention of a religious dimension to Wes Anderson’s films may sound surprising, even bizarre. It is certainly not what he is known for.” In fact, Zahl observes, rather cleverly, that because Anderson’s films are so extraordinarily intricate and perfectly balanced, “…it seems there is no room in a Wes Anderson film for any deity other than Wes Anderson.” But God does show up in Anderson’s films. It might take some faith to see it, but in

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