Four new short films make clear how crucial the author’s work has been in the development of Anderson’s art.
, which dropped on Netflix last week, may be brief—three are seventeen-minutes long, one runs thirty-nine—but there’s nothing minor about them. They make even clearer what his features have long shown: Anderson is one of the two most original inventors of cinematic forms since the heyday of the late.
Lest viewers become even briefly comfortable with the enchantments of his staging and of his actors’ performances, Anderson jolts them alert with ever more audacious contrivances. In “The Wonderful Story of Henry Sugar,” walls are raised and backdrops lowered into the action as if in a theatre—and the backs of stage flats and the supporting struts of stage floors remain visible. In “The Rat Catcher,” the titular exterminator pretends to handle invisible animals as if in pantomime.
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