
Bottle Rocket
Wes Anderson’s 1996 debut follows three Texas friends attempting increasingly ill-conceived robberies, not for money or thrills but to inhabit roles — planner, accomplice, driver — that confer identity and connection. Shot with flat, frontal precision by Robert Yeoman and scored with wry minimalism by Mark Mothersbaugh, it treats ambition, failure, and affection with equal, unblinking calm.

