Wes Anderson’s films look exhaustively fussed over. Every frame is like an album cover–beautiful, richly detailed, and with masterful symmetry. As the aesthete director’s latest visual feast, The Grand Budapest Hotel, rolls out in theaters, a new video examines the balance Anderson achieves with nearly every scene through centering.

A filmmaker who goes by Kogonada was working on a featurette for Criterion on the visual cues from Anderson’s other films that recur in Fantastic Mr. Fox, when he decided to make a companion video. By adding a white dotted line down the middle of the frame, Kogonada’s video “Centered” shows off the immaculate composition in scenes from all across Anderson’s filmography. Whether it’s a person, a stack of rocks, a tent-zipper, or a building, something is almost always placed dead center, with a comforting cinematic feng shui occurring on either side.

This video is just one of many reasons why Anderson’s meticulously appointed films can either by enjoyed at face value, or studied in depth.

H/t to Death and Taxes