This film feels like Wes Anderson's biggest push into his style, the use of dollhouse style sets, long tracking dolly shots, toy-like props, and use of stop motion really give that sense of heightened reality that defines the charm within his films. I especially loved the use of stop motion for the aquatic animals, it really makes it feel like they're something within Steve's world that still provides whimsy and purpose for him to explore and research. It plays into the letter he sends to Ned too, about how he wishes he could breathe underwater all the time. To Steve the ocean is an escape, and because of the success he's achieved with his documentaries from indulging into that escape he finds it difficult to connect with others. As the film goes on we see how that escapism pushes him away from both his crew and his son Ned. He doesn't know how to come to terms with being a dad because he's always ran away from his responsibilities in favor of the ocean.
I really love the use of long dolly tracks and this film really scratches that itch. Seeing how Wes Anderson pushes it to fit the dolly even with making the set have false walls keeps the scene moving. This is most notably done with the argument between Ned and Steve when he finds out about Ned's relationship with Judy. As they walk around the ship the whole crew is exposed to their dirty laundry as they try to find a space to talk privately, similar to how Steve's life is always exposed on camera within his documentaries.
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