The Grand Budapest Hotel. It has a completely different image style from "Happy Spring", but it also has the strength that every frame can be used as a high-quality photographic work. "Breakthrough" is like the melancholy style of Picasso's blue period works, but also has a strong sense of loneliness and coldness in Hope's works. "The Grand Budapest Hotel" is a bit like the period of Hockney's double paintings. The rich colors breed the potential energy of conflict; it also has the balance and squareness of the classic heroic works of David Louis-Jacques. It's hard to imagine how much work it is to pursue the balance of the picture structure and color like a classical oil painting for every frame of a movie. Even the picture is a standard symmetrical square. In order to emphasize the importance of a little-known painting, but an important clue to the film, it is really the director's bad taste to smash Schiller, who replaced it. How many Schiller pictures of such a large size can be found in the world? Mr. Zweig at the end of the credits, I salute you too.
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