The first shot of Wes Anderson’s first movie, Bottle Rocket, is of a window opening. Windows are a charming lo-fi way for his characters to communicate with each other and take in the world. Max Fischer, from Rushmore, comes to Rosemary Cross’ window in the pouring rain to talk to her instead of calling; Ari and Uzi Tenenbaum open a window to see what’s going on outside their house.

This video essay from Clara Podlesnigg and Fandor Keyframe breaks down Anderson’s love for windows—always perfectly framed, of course—which join his unique pantheon of vintage eyeglasses, handwritten letters, and dated audio equipment. Watch the analysis above.