The French Dispatch, Wes Anderson’s love letter to The New Yorker, is, as you might expect, a charming way to pass a couple of hours – but not as funny or as tight as we might like, and certainly a disappointment in the light of his last two films, The Grand Budapest Hotel and Isle of Dogs (although, in fairness, reaching those heights even twice, let alone a third time consecutively, would be a big ask for anybody). Still, despite The French Dispatch‘s pleasures, some gorgeous imagery and a terrific, star-packed cast, we’re left asking what it’s all about, really – is it more than a vaguely diverting trifle based on Anderson’s favourite publication? And why can’t an ode to an icon of American sophistication be set in America?
Carlos Sánchez Pérez, the celebrated painter, illustrator and graphic designer best known by the sounds of the first letter of each of his names, (Ce, ese, pe) — Ceesepe, — died of Leukemia in Madrid on the 7th of September. RIP. Ceesepe was the painter of the scoundrelous (is that a word?: ‘el pintor de lo canalla). He did the great credit sequence for Almodóvar’s Pepi, Luci, etc, the posters for Labyrinth of Passion, Entre Tinieblas and The Law of Desire.
His images are a vivid conjuring of the Spain of ‘La movida’ covering as they did albums, comics, advertisements for bands, all the night life of the Madrid of the period.
His work was even sought after outside Spain:
This is one of my favourite alternate posters he did for Law of Desire: