Anyone who’s seen more than a few minutes of a Wes Anderson movie will not be surprised by this supercut; its conclusions—Anderson’s loves symmetrical framing—are obvious. But this short compilation video by Vimeo user kogonada is great anyway, thanks to the clever juxtaposition of images and the way it reveals just how nuts Anderson is about symmetry. Using a dotted line to split the frame precisely down the middle, this video highlights the extreme lengths the director goes to in order to create his perfectly ordered worlds:
I particularly like the sequence of all the tent zippers from Moonrise Kingdom opening and closing, and the establishing shots of characters as tiny dots in the distant background that still adhere to Anderson’s preferred framing. For a long time, I was pretty agnostic about Anderson’s work, which I felt had grown a tad repetitive and stale. The exuberance of The Grand Budapest Hotel made me rethink a lot of my opinion, though, and watching this supercut is making me more convinced that it’s time to give some of the Anderson films I wasn’t a big fan of (The Life Aquatic, The Darjeeling Limited) another shot.