Marooning a pack of dogs on a dystopian Japanese island, the auteur’s new animation is an inspiringly detailed and surprisingly rough-edged treat
It’s well known that for Wes Anderson
, the world is one big toy box. The prodigious American auteur proved that with his last feature, The Grand Budapest Hotel
, which turned its human cast into comic puppets placed in a gorgeously crafted train-set universe. Now he proves it again – if anything, more extravagantly – with Isle of Dogs
, an animation which, like its predecessor, opens the Berlin film festival in scintillating style.
Anderson has tried his hand at stop-motion animation before with the Roald Dahl
adaptation Fantastic Mr Fox, but this new talking-animal entertainment is considerably more sophisticated and ambitious. It’s set in a near-future Japan, where Kobayashi (voiced by Kunichi Nomura
, one of the film’s co-writers), the corrupt mayor of fictional city Megasaki, has taken