The Grand Budapest Hotel: Comedy, Tragedy & Style
Some viewers are put off by what they perceive as Wes Anderson’s fake or artificial style of filmmaking. Honing in on The Grand Budapest Hotel, Thomas & Lars embark on a defense of symmetry, illustrating how Anderson’s framing choices contribute to the overarching design of the film as a series of frames within frames.
The Pitch Box is a open call for you to pitch an idea you have for a video essay. Interested in the way Kubrick uses color in A Clockwork Orange or how to use dialogue in an opening scene? Tell us what you want to see.