Director Wes Anderson said The French Dispatch was not easy to explain during an interview with journalist  Charente Libre. He is correct because the film rockets along at breakneck speed, never stopping to reflect on what is happening, and leaving the audience to figure it all out later. That does not mean, however, that the viewer is not constantly intrigued with what is happening on the screen.

Anderson had to be creative with the storyline that one-time director Roman Coppola (son of, yes, that other famous Godfather director,) actor Jason Schwartzman (son of actress Talia Shire), and writer Hugh Guinness ( son of bottling company?) wrote. Split into three segments, the film allegedly is a visualization of three magazine stories that had appeared in the American-run “French Dispatch Magazine.”

 With everything set at a madcap pace, it takes some concentration to figure out what it going on. The first segment, starring Benicio Del Toro as a crazed painter/ convict  and Oscar® winning actor Adrien Brody as a con- man art dealer, we think. This segment is the most fun with many droll moments, genuine laughs and with an insane sense of humor. Not everybody will get it, but we found it hilariously funny. Del Toro is not a born comic, but in this piece, he is blank-faced and comically touching.

 Bill Murray, who is not someone we have ever found funny, plays the owner-editor of the magazine. He runs it his way, and it maybe he thinks the magazine is an homage to the beloved “New Yorker” magazine. Headquartered in the small French town of Ennui-sur Blasé (weary  or bored on indifferent!), a variety of characters come to life as they depict stories that first appeared in the pages of the magazine. Current heart-throb Timothee Chalamet of Dune fame, appears looking disheveled as a revolutionary. Ladies will like his naked scenes in the bath, as does Frances McDormand. When she walks in on him he says, “Madame, I’m naked!” and she drolly retorts, “I can see that!”

The film is a feast for the eye, with changing scenes, sets, costumes, and a flip from color to black & white and back. Production Designer Adam Stockhausen and Set Decorator Rene DeAngelo were kept on their toes by creating zillions of settings, styles, and colors. Congrats to them.

Don’t ask about any of the plots. I’m not sure there are any. It’s all bizarre, funny, with the viewers heads getting whiplashed trying to follow the change of scenes and story lines. But it is all in great fun, totally inexplicable, and mad. There are more stars than there were at MGM during the Golden Years. Making quick appearances are Edward Norton, Saoirse  Ronan, Henry Winkler, Willem Dafoe, Liev Schreiber, Tilda Swinton, Oscar ® winner Christoph Waltz and Owen Wilson (who does some funny pratfalls off a bike).

There is no explaining what this film is trying to be: a comedy or a serious story. It has elements of many things. Only Wes Anderson can tell you. But you will find the film insane, subversively humorous, droll, eye-popping and never, never dull. See for yourself.

(Released by Searchlight Pictures and rated “R” for graphic nudity, some sexual references and language.)