Private Consultation
Anderson uses specific framing in order to show what the narrator is describing as he describes it. The timing of the cinematography is impeccable and minutely specific, and shows us exactly what to look at and when. One example occurs early in the film when we hear Mr. Moustafa speak of how Mr. Kovacs, Gustave, and the hotel's manager would have private consultations every month to go over the books. Anderson places the three men in a room with only a tiny window framing them. The viewer can see their silhouettes through the frame, which creates a theatrical effect. The frame within the frame creates a heightened image of privacy.
Doors
At Madame D.'s home, Gustave visits with the deceased countess before being told to go to another part of the house. As he is instructed to go elsewhere, three layers of doors open, creating a long corridor. The imagery shows us that there are multiple layers to this story that must be opened throughout the journey. Indeed, nothing it is as it seems and different doors lead to very different rooms.
Window Shade
Kovacs gets on to a streetcar after his work day is ending and pulls the shade. When he does we can see the reflection of Jopling on his motorcycle. The image shows that Jopling is like a shadow, a cold-blooded assassin who appears out of nowhere. The image is ominous because when Jopling does show up, it's never a good sign.
Sledding
In the middle of Gustave's and Zero's meeting with Serge at the monastery on the top of the mountain, Serge is killed by Jopling. Escaping, Jopling straps on skis and whizzes down the mountain. Zero and Gustave hop aboard a sled to follow him and go whizzing down after him. Anderson shoots them in closeup aboard the sled, and also from above, like a small dot moving very quickly down the white slope. The image is almost like animation or a video game, and adds to both the playfulness and the suspense of the narrative.
