Moonrise Kingdom: even after repeated viewings, Wes Anderson’s lovely film continues to reveal new facets, even if its main source of interest is the intense love story between two kids, both feeling misunderstood and unloved elsewhere. It is interesting that the story is framed within the context of a natural disaster, seemingly destructive but ultimately irrelevant. The film belongs to Kara Hayward and Jared Gilman as the two kids, but Edward Norton, as the sympathetic but oblivious scoutmaster, and Bruce Willis, as the also sympathetic and sad police captain, are very fine presences in a large cast filled with known faces, all giving good performances. As usual, the tone of the film is subdued, which is not to say the story doesn’t get very emotional at times.

The work of cinematographer Robert D. Yeoman, production designer Adam Stockhausen, and costume designer Kasia Walicka Maimone, are typically great, as is the use of music. Composer Alexandre Desplat presents a wonderful original score (which is deconstructed over the end credits, making it particularly worth it to watch them), while Mark Mothersbaugh contributes with some percussion tracks; the work of Benjamin Britten is used repeatedly, and some songs complement the deal.

As a bonus, two unusual (but certainly appropriate) pieces of the film’s marketing:

And lastly, an unrelated commercial directed by We Anderson:

Read what I wrote before: Moonrise Kingdom