most of the bars in this short prelude have a clear rhythmic marking: Its all sextuplets and the right hand is clearly aligned with the left as the score indicates, where the right hand melody starts at the second sextuplet (Bars A and B in the example image).
However there are some bars where this changes, shifting the right hand to the starting sextuplet, and the alignment with the left and is not so clear. The score a quintuplet, for which all notes except the first would not be lined up with the left hand. (Bars C and D in the example image).
Following the score, the last left hand note is never aligned with the third right hand note (green dotted line, in all bars A, B, C and D).
Listening to some interpretations though, it sounds as if the right hand in bars C and D is still interpreted as sextuplets starting on one, and leaving a rest at the end, with the consequence that the third right hand notes and left hand notes are suddenly played unisono (red dotted line on bars C and D, second image).
This happens both in Kissin's recording
as well as when played by Paul Barton where he explicitly talks about the rhythm of this pieceat exactly 2:40
Am I reading the score wrong or is this just a common creative freedom of interpretation of this piece?