Most of that discussion is less about any advantages inherent to either aspect ratio and more about just viewing the film as the director originally intended.

The cinematographer would have composed shots for the main 1.43:1 aspect ratio first while taking into consideration the other aspect ratios (the viewfinder will overlay the different framelines to help make those decisions). The DP then gets to go back in during post and recompose each shot for the different formats as needed, tweaking what was originally shot to do their best to maintain a cohesive feel and emphasis across each crop. With five different formats for The Odyssey[0], I'm sure that was a fun experience.

It's not that one format is inherently better. The frame is a storytelling tool, and you can use different aspect ratios to influence how audiences perceive the film.[1] It's when you start changing it afterwards with little regard for the director's original intentions that we see problems. The old pan-and-scan movie releases for VHS or cheap 16:9 conversions are frustrating examples.

0. https://www.odysseymovie.co.uk/explore-formats/

1. https://www.cined.com/aspect-ratio-as-a-storytelling-tool-a-...