“Wes Anderson isn’t cool anymore,” I recently heard a friend say, showing all his false indifference to the upcoming release of “The French Dispatch”. He probably has a point, the indie is no longer the one of “Moonrise Kingdom” or even the one of “The Tenenbaums”, the fact remains that the film, out on October 22 is still one of the most anticipated titles of this fall. A month later, to promote the film Wes Anderson presented twelve new posters, as many as the main characters of the film described by the director as “a love letter to journalists, set in the headquarters of an American magazine in a French city of the twentieth century”.

The style recalls the illustrations and the scheme of journalistic dossiers and reports, with a theatrical playbill setting. The geometric backgrounds, as well as the collages and illustrations, are inspired by the graphic history of The New Yorker, the American newspaper that has succeeded in almost a hundred years of history not only as one of the best sources of information in the world, but also as an aesthetic parameter almost unmatched by other newspapers and magazines. The fonts, the illustrated covers and the style of the reports have therefore inspired the twelve new posters for “The French Dispatch”, created by the film studio Searchlight Pictures.

The posters for Anderson’s tenth film had to feature full-length actors, if only because the cast of “The French Dispatch” is one of the best the director has ever had at his disposal. Adrien Brody, Tilda Swinton, Frances McDormand, Mathieu Amalric, Léa Seydoux, Owen Wilson, Bill Murray, Benicio del Toro, Stephen Park, Lyna Khoudri, Jeffrey Wright and Timothée Chalamet are just some of the most anticipated actors in the cast. For now, we can only see them as drawing on the movie posters, waiting for the symmetrical shots, pastel colors and all those things that, by now, are no longer cool.