The Overlapping Aura in Trust and Wes Anderson Movies

The artistic styling in Trust reminds me of the typical Wes Anderson film. The blunt acting, absurd story line and existential angst are similar to movies such as Moonrise Kingdom and The Grand Budapest Hotel. The main characters in these films embody existentialism to a certain extent.

Matthew from Trust likes to think that he lives by his own rules, but is really under the control of his abusive father. Although incredibly skilled, Matthew quits his jobs in order to experience a sense of self-control. When it comes to relationships, Matthew is a cold-standoffish character that does whatever he pleases without worrying about other's feelings. Until he falls in love with Maria, there is a veil of nothingness taking control of his life. There seems to be no purpose, and the constant cleaning of his bathroom is a symbol of this life without aim. Matthew's character is complicated and while he does try to live an individualized life, is still a puppet to society and his father. 

Sam and Suzy in Moonrise Kingdom are similar to Matthew in that they both have existential aesthetics, but are under the control of their parents and boys scout leaders. The two loner children run away together because they are in love and no longer want to live with their parents or spend time at boy scout camp. Sam does not want to conform to the boy scout way, while Suzy refuses to listen to and live by her parents rules. Both characters live together in a remote cove, free from external influences, and focus solely on each other and their lives until they are forced home by the adults of the movie.

Similar to Matthew, Sam, and Suzy, M. Gustave from The Grand Budapest Hotel is also a loner. Gustave has an existential aura and has odd relationships with the characters in the movie. When one of the elderly women who he is sleeping with suddenly dies, Gustave brings his only companion, Zero, with him. This action exemplifies the disconnect Gustave has with the external world. Zero is the brand new bell boy at the Grand Budapest Hotel, and Gustave barely knows him. Gustave's willingness to bring a young boy who he has no emotional connection with, and to consider him one of his closest comrades, to the funeral of his lover is absurd. Also, Gustave seems to be indifferent when seeing his dead lover, and is more worried about protecting the precious painting that he inherits from the elderly admirer. 

These characters are all connected to Meursault from The Stranger. They all share an odd sense of indifference to emotional aspects of the world and yearn for a sense of control in their lives.