Asteroid City plays like something of a manifesto, one that saves its most profound artist’s statement for its final minutes.
is his most Brechtian effort yet, tucking one distancing device inside of another. If most of Anderson’s films deploy artificiality as a design principle, from the stylized costumes to the sets, this one draws constant attention to its own unreality to make a point about it.
It’s all very playful and clever and, at times, complicated. Yet the movie, and its central play-within-a-broadcast-within-a-movie gimmick, gains a startling poignancy at the climax, when Anderson’s two narrative tracks converge. Just as one of his usual madcap finales commences , our nominal protagonist, played by Jason Schwartzman, breaks character — which is to say, it’s suddenly theater actor Jones Hall we’re seeing instead of his onstage persona, bereaved war photographer Auggie Steenbeck.
Auggie, a father and grieving husband searching for answers about the universe, to also see Jones, an actor seeking answers of his own … and maybeto see Jason Schwartzman, the real man behind these fictional men, who surely experiences his own moments of “Am I doing this right?” doubt. Auggie, Jones, Jason — they’re all separate entities, but they occupy the same form. And seeing all of them at once allows us to understandas the story of each of them.
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