I quite liked a number of things about this film, it's basically like what Tsai Ming Liang did with Lee Kang Sheng to Jean Pierre Leaud with the Antoine Doinel cycle. What if Anderson just kept making films following the Max Fisher character as he grew up. I like how Schwartzman's character is an un-redeeming arsehole throughout.
The topics of male artistic egotism and its consequences, mentor/father figures and relationships are all close to my heart at the moment obviously.
It's also a completely atavistic period piece, like Dev Hines, re-creating the 1980's New York neurotic literary intelligensia vibe note-for note, buts its done so well I don't care.
There's absolutely nothing deconstructed about it, but it appeals to me at such a base level it may be simply hitting that generational nostalgia. Shooting in 16mm makes such a big difference, it actually makes a film look like a film rather that a technological demonstration of mimetic fidelity that 4k, HHDD, 3DDD films seem to go for these days.