Le cygne

A young boy relentlessly bullied by two older boys finally finds the strength to escape his tormentors. The pair of cruel older boys, who enjoy shooting songbirds in the hedgerow and ultimately kill the titular bird while it's nurturing its young are so repulsive that they drift into caricature (as perhaps was the intent, as they are figments of the narrator's memories). Like Anderson's other recent Dahl interpretations, 'The Swan' is a stagy, borderline surreal, meta-production that puts style far ahead of content. The cast is great, as is the intricate imagery, so I enjoyed the short despite the disagreeable and mean-spirited cruelty that permeates the story.

Interesting, engaging and calmer than I would've thought. Rupert Friend is wonderful since being in Homeland awhile ago, it's great that he's had multiple roles in Wes projects! I love this one superb scenery as always and quite well made! Only a little about a Swan. The field is great, writing is smooth, and these Wes shorts are complex a lot to take in. Not a lot needs to be said but I'll try a nice mix of southern, action, storytelling, and somber. Not sure how anyone could hate on Wes projects except Rat Catcher that one was very peculiar even most the movies are all fantastic pieces of cinema.

'The Swan (2023)' is perhaps the most stripped-back of Wes Anderson's four Roald Dahl shorts, with only one real major character and a more relaxed approach to the intricate stage-like design that each entry in this pseudo series makes distinct use of. It really feels like Rupert Friend is reading you a story - occasionally altering his pitch, timbre and accent to do the voices of the various characters - and, in its own way, feels strangely intimate. The story itself, although presented with a certain level of twee whimsy, is incredibly bleak and culminates with an ending that hits you like a truck. It's a case of tell more than show, but the aesthetic is specifically designed to accommodate this and it actually makes some moments feel potentially more potent than they would have in more traditional fare. It's a compelling effort overall that moves at a solid pace and has a tangible emotional impact that sneaks up on you but leaves you speechless as the credits roll.

Wes Anderson has four new short-films on Netflix. I think they're all based on Roald Dahl stories. Last night I watched the one called "The Swan," and I really had no idea what I was in for. I guess I had expected something comical, with melancholy undercurrents, like most of Anderson's work. Instead, the story is one of the most diabolical horror stories I've ever heard, diabolical because it is so realistic, so believable - describing the ordinary way in which young boys can do terrible things to each other. And yet, because it is expressed through Anderson's cute, stagey, pastel-colored style, there is a distancing effect which somehow makes the piece hit harder than a more realistic style might have. It has the power of a poem, or a song. The magical-realist ending concludes the piece on a mysterious, ambiguous note which can be read in different ways. My god, it's good. So sad, so powerful.

Wes Anderson's "The Swan," a part of an impressive short film collection inspired by Roald Dahl's stories on Netflix presents viewers with a vivid adaptation of Dahl's tale resonating with Anderson's signature stylistic flair. Featuring a stellar cast including Asa Jennings as the young Peter Watson and Rupert Friend portraying the adult Peter the 17-minute narrative plunges into the unsettling account of young Peter's encounter with two bullies.

Throughout the film, Anderson's masterful touch is evident, blending live-action with animation seamlessly, giving life to Dahl's rich storytelling. Embracing a strong visual design, the film possesses Anderson's penchant for symmetry and direct camera engagement. Though the plot unfolds through narration, suggesting more of the cruelty than explicitly showcasing it, the experience felt immersive. Such is the potency of the narrative that at moments, it seems like a reading session of Dahl's story rather than a motion picture.

However, the film might not resonate with everyone, especially those unfamiliar or less appreciative of Anderson's unique style, which over the years has been refined and might come across as predictable to some. Nevertheless, for fans of Anderson and Dahl, "The Swan" stands as a testament to storytelling excellence, artfully presented and layered with nuanced details awaiting rediscovery upon subsequent viewings.

Beyond "The Swan," Anderson's other Dahl adaptations, notably "The Wonderful Story of Henry Sugar" and "Ratcatcher," further cements his prowess in translating Dahl's universe onto the screen.

In essence, "The Swan" is a captivating piece, masterfully bridging Anderson's cinematic artistry with Dahl's narrative brilliance.