>The mood, character development, cinematography, quirkiness Other than character development those are all part of the aesthetic and in his last two he mostly

>The mood, character development, cinematography, quirkiness Other than character development those are all part of the aesthetic and in his last two he mostly extended that aesthetic directly to the characters, dropped the essentially realistic relatable characters and turned them into caricatures who don't really develop; devices of the story and theme instead of what drives the story and develops theme. I would say he was doing things uncomfortable for him with The French Dispatch, which is why he did not quite pull off the meta aspect. I think his interests are in improving on story and narrative and exploring what can be done with them within the medium and his aesthetic is a means to those ends, a way to push things out of the normal perspectives and give him more room to do things like make highly metafictional films without going all out experimental. I am perfectly aware there are other genres.