By editor
Originally published on Tue May 29, 2012 3:41 pm
In the first few minutes of Wes Anderson's Moonrise Kingdom, the camera tracks horizontally and vertically along the cross-sectioned rooms of a house. It's one of the writer-director's signature visual tics, one that, like many of his techniques, announces his art as something artificial. Anderson isn't breaking the fourth wall, he's eliminating it, literally: all these rooms have only three, in order that we might glimpse the carefully choreographed ballet he has arranged for us inside.
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