This article argues that while Anderson’s films are often characterized as concerned
This article argues that while Anderson’s films are often characterized as concerned with youth, this is inaccurate. Interactions between adults and young people are key. Focusing on Moonrise Kingdom (2012) and Rushmore (1998), it explores how a young man’s coming of age prompts a crisis of maturity for male adults. It also considers aging in Anderson’s oeuvre more widely, contending that Anderson’s explorations of aging are ultimately conservative, prioritizing male experience and adulthood.