Absolute courage, loyalty and camaraderie on one side and perpetual cowardice, lies and enemies on the other, a common trope in Wes Anderson films. Also common are his obsessive-compulsiveness in symmetrical composition, bright color schemes and humor.
But this time, very different, the satire about militarism, the destruction of the environment, and the harming of animal children seems politically correct. But with white children as bystanders and political leaders calling for freedom to awaken politically castrated intellectuals, Japanese nationals and even political leaders, under her impetus, the protagonist, the Japanese child, succeeded in debunking the dictatorial conspiracy and was elected as the new mayor. It's all going very well, sci-fi, mainstream Western Europe, is it just spurning the adult world of clutter and hypocrisy? What is it trying to say?
It is worth mentioning that the main line setting is actually the dog's perspective, and the others are unknown third-party perspectives. What the audience mainly experiences is the dog's narrative perspective. The dog can't understand Japanese. When the protagonist boy speaks Japanese, he usually can't translate or add subtitles. It seems that the whole human society is the observation of the dog, that is, the audience's perspective. cao object. . .
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