Wes Anderson has been known for his auteuristic endeavors in his past films – “Bottle Rocket,” “Rushmore,” “The Royal Tenenbaums,” “The Life Aquatic with Steve Zissou” – which all show an incredibly apparent vision. Detractors, though, have essentially labeled him a one-trick pony. And for those who have doubted Anderson’s creative abilities, his latest opus, “The Darjeeling Limited,” truly shows the director’s skill and development as a filmmaker.

As a supplement to the film, there is a short titled “Hotel Chevalier,” which will be released online for audiences to watch before they see part two, the feature. Watching the short, one is able to note that Wes Anderson strays from many of his trademarks by approaching aspects of the piece with realism in place of what could have easily fallen towards the extremely romanticized. The music does not magically fade in—it is a precontrived button press of an ipod. The girl is not a soft-spoken inoffensive caricature, but a portrait of what feels like a real person. What is also notable about the short is its simplicity, involving only the characters of Jason Schwartzman and Natalie Portman, which is surprising coming from the filmmaker who seemed wholly concerned with the ensemble dynamic. On the visual side, there is definitely progression found in shots that feel less geometric and precise than in Anderson’s other films, and it is this that marks a turning point in his artistic advancement.

It is clear that Anderson approached this film very differently from his previous works, for throughout the film there is an air of experience that translates onto the screen. The screenplay was written by Anderson, Roman Coppola, and Jason Schwartzman; who all collaborated in Paris, France and ultimately on a trip in India (which seems to explain the settings of the short and film, respectively). The end result of this collaboration is the story of three brothers, who are played by Owen Wilson, Jason Schwartzman, and Adrien Brody.

Each of the brothers have their share of problems on their own that they shy away from facing; on top of that, they haven’t seen each other since the death of their father, and their mother (Angelica Huston) has pulled herself completely out of the picture. The three brothers are brought together by the eldest, Francis (Wilson), who feels what they need after being apart for so long is a spiritual journey. Their journey is, literally, pushed forward on the Indian railway, the Darjeeling Limited. The idea of the train is interesting because it not only forces the brothers together, but it also creates a collision of cultures – from tourists, to the stewards – ultimately bringing the three somewhere that they, themselves, may not have expected.

The performances are fluid in execution, making the film feel very honest; possibly magnified by the fact that the actors in this film dressed themselves and did their own make up, reminiscent of Godard’s own approach. Angelica Huston appears in what is her third Anderson picture and also one of her most unique performances. Similarly, Bill Murray makes his own small appearance in the picture in a part that is one of the more interesting onscreen.

Startlingly sophisticated, “The Darjeeling Limited” is one of Wes Anderson’s most satisfying works. Fans of Anderson’s previous films will not be disappointed and will also be pleased to discover a very new cinematic experience. Moments are fresh and full of wit, and others send chills with the poetic symbiosis of image and sound—all defining characteristics of this masterful work.