Twelfth International Conference on Religion & Spirituality in Society

Abstract

This paper reads Wes Anderson’s 2014 film “The Grand Budapest Hotel” through the lens of liturgical theology. It proposes that by revivifying collective memory—both its tragedies and joys—in a rhythmic, sensory, spatial, playful, and paradoxical way, the film forms our “social imaginary” for the better. In exploring the resonances between existing Anderson scholarship and liturgical theology, the paper highlights three key facets of the film: its implication of the present through the mythical stylization of the past; the relationship between M. Gustave and Zero, who find their place together as priest and acolyte of the Grand Budapest Hotel, enacting its liturgy of service against the rising tide of barbarism; and Anderson’s formal and aesthetic vision, which curates and elevates “found” objects and spaces, recognizing them as sacramental. Rejecting metaphysical dualism, the film suggests that communion and mystery are embedded in and enlivened by the material world.