This is basically another example of why you should just forget everything you’ve learned in art school. You were always told that a perfectly symmetrical composition is boring. Well, Stanley Kubrick didn’t believe it and look at the results. This kind of thing just gets me all shades of excited.

I’ve long seen similarities consistent in all of Kubrick’s films, especially his last 8. There’s the film that’s broken into two halves (the set-up and the disillusionment), the once confident, then struggling male protagonist, the long tracking shots that move through mazes, and of course the tight facial shot of said protagonist looking up at the camera with furled brow. We showed a bit of that here. I’ve said that Kubrick seems to be making essentially the same film over and over again. This is fine by me. They’re so layered and complex that they beg for repeated viewings. Each new Kubrick film was like another viewing of any one of his previous films. The individual movies are not only a maze within themselves, but each one also serves as a smaller piece of a much bigger maze. Like a popular culture version of Matthew Barney’s Cremaster Cycle.

Both Barney’s and Kubrick’s series’ are comprised of films that stand alone and at the same time service the other films in their respective ‘cycles’. The larger themes the filmmakers work with are bolstered by the strengths of there other parts (the other films). Barney’s vision centers on man’s struggles with his physical body, while Kubrick’s man struggles with his internal self.

I addition to Kubrick’s many thematic complexities, he was also a master of the visual image. The shot. To illustrate this point, we’ve found a genius who has edited together a brilliant video showing Stanley’s use of one-point perspective in his work. Check it out, it’s beautifully done. It gets me even more excited to see the upcoming documentary film ‘Room 237′, which attempts to decode ‘The Shining’, as well as the upcoming Stanley Kubrick Retrospective at LACMA. Enjoy.

[Images via Buzzfeed]