Many resent Wes Anderson simply because of the social tribes that have adapted him as their mascot: nerd-chic college kids, hipsters who are a little behind. An Anderson film can act as a sort of cool-kids Koran, with embedded instructions on what to wear, read, and listen to. (The Defense Speaks: It’s not his fault his aesthetic is so appealing.) Indeed, he is more than a filmmaker. He’s a buzzword. A manager at the Lower East Side restaurant where I once worked posted a Craigslist ad looking for a bartender and noting that job applicants ‘must know who Wes Anderson is.’ This elicited angry responses in which the manager was called names like Royal Tenendouche.
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LENA DUNHAM, in her defense of Wes Anderson / review of Criterion’s BOTTLE ROCKET disc for Hammer to Nail. 

turns out that Dunham dabbled a bit in film criticism before the tables turned. her pieces are pretty astute, and make for fun reading beyond their newly appropriated value as curios from her former life. her 2009 essay on LAST DAYS OF DISCO even begins: “Hooray, Criterion!”  i bet Ozu never said that. i, for one, am happy to have Dunham on the team.

check out her collected work for Hammer to Nail here.

(via criterioncorner)

(Source: film-dot-com)