Video essay­ist Kog­o­na­da pre­vi­ous­ly made some bril­liant obser­va­tions about the visu­al obses­sions of some of cinema’s great­est for­mal­ists. Stan­ley Kubrick, as Kog­o­na­da ele­gant­ly points out, com­pos­es most of his shots using one-point per­spec­tive. Once called out, it becomes a motif that’s real­ly hard to ignore. Yasu­jiro Ozu – a direc­tor who has more cin­e­mat­ic eccen­tric­i­ties … Con­tin­ue read­ing The Per­fect Sym­me­try of Wes Anderson’s Movies