Rushmore ★★★★½

Sprezzatura is sartorial gracefulness achieved through artful nonchalance: a perfect articulation for Wes Anderson’s second film Rushmore. 

This film is elegant, graceful, and aesthetically minimalistic. These are the best characters I’ve seen Anderson put to film— they’re not caricatures housed in an overwrought, nauseatingly succinct art piece with an overabundant attention to detail and color palette that’s trying to give you a sugar high; this is the loveliest, comfiest and funniest storytelling I’ve ever seen from a Wes Anderson film. This movie is severely hilarious and thoroughly immersive— it plays like a coming-of-age superhero film without needing any of the action. 

Biggest takeaway? The establishment of the individual aesthetic profile often eclipses one’s capacity to maintain alignment with any and all forms of social order— and it’s upon this conflict that Jason Schwartzman’s Max Fischer goes to war. It’s the story of a young artist with a beautiful perspective that perpetually makes his grey world spectacular. 

This film is brimming with fun, and heart. Hard recommend.