The French Dispatch is literally an adaptation of a weekly newspaper, or rather an appendix to it. Fictional, of course, but this fact does not make the idea any less original. We see an almanac of various stories. As befits every self-respecting newspaper of the twentieth century, The French Dispatch has an obituary, city news, longreads about art, politics and haute cuisine, all written, of course, by the best journalists. The almanac format allows the director to speak on many topics at once, without trying to pull them together. In fact, all parts of the film are united only by Anderson's signature toy style. Nevertheless, he allows himself to experiment. The picture now and then flickers from black and white to color and vice versa, and in one of the "longreads" it turns into an animated cartoon. To point out, this is in the film of the director, who in previous animation works shot handmade dolls, and in the last fictional film he built the color scheme in such a way as to set off the texture of the fabric! Though the usual symmetry, square screen and overflowing with details have not disappeared anywhere. It's in abundance in The French Dispatch, moreover, in comparison with The Grand Budapest Hotel there is a feeling that Anderson's perfectionism has only intensified. Unfortunately, if the viewer is faced with the director's work for the first time, he will naturally be amazed by the style of a mechanical old box, where every detail works flawlessly, but for experienced fans and critics, this can already nourish their eyes and seem more likely not to follow the corporate style, but to be obsessed more on form than on content.