"Citizenfour," in fact, enlarges and underlines ideas about architecture, privacy and culture that run more subtly through a number of Oscar nominees. Several [...] movies exploit the dramatic appeal of the constricted, labyrinthine, tightly packed, claustrophobic or paranoid space: the crowded backstage corridors of "Birdman" by Alejandro G. Iñárritu; the tunnels, hallways and dollhouse-like spaces of Wes Anderson's "The Grand Budapest Hotel"; the Edmund Pettus Bridge in Ava DuVernay's "Selma." — latimes.com
Related: Julia Ingalls' Material Witness series on Archinect
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Man architectural journalists look so lost
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