Drawing. Movie Making Power

The paper is an enquiry into all the aspects of geometric-architectonic representation in Wes Anderson's movie “The Grand Budapest Hotel” with the aim to demonstrating its power to create true cinematographic masterpieces. The movie can serve as an interesting excuse for investigating and exploring representation potentialities to perceive a constructed object – with its implications concerning geometries, symmetries, colors – in the continuum between objective and illusory reality. The movie condense in it all the technical device that constitutes a complicated and powerful imaginative construction. The drawing in “The Grand Budapest Hotel” becomes narration and representation allows to built an illusory reality. Wes Anderson proves to be a real master in organizing movies with a refined mastery of the architectonic space. The design of the set is a mix between real and illusion thanks to a continuous and interchangeable perception. All the characters move inside illusory spaces, represented through drawings, colors, photographs, collage, etc. and everything is strictly linked to the representation and the rules that define it.