In his latest “Every Frame a Painting” series, Tony Zhou takes generic, ensemble coverage to task. Pitting rigid Hollywood biopic fare against the geometric blocking of Akira Kurosawa’s The Bad Sleep Well, Zhou considers why dynamism comes through movement and not necessarily edits. As the characters shift about the room, tracing lines of triangles and squares, Kurosawa uses full-bodied actors — not close-ups — to draw your attention to a given object.