Critics claim the director’s film, with its sushi and sumo wrestlers, bastardises Japanese culture. But is it just a clumsy cliche fest?
As someone who has routinely criticised Hollywood’s appropriation of other cultures, especially Japan’s, Wes Anderson’s Isle of Dogs ought to yank my chain. It’s a quintessentially Andersonian tale, told with all the quirks and quips and symmetrical compositions we’ve come to expect. This time the setting is Japan – a fictional future Japan, where abandoned dogs are quarantined on an island rubbish dump.