essay about film directors

• Movie Directors

22 Famous Movie Directors and Their Cinematic Styles, Explained

If you buy something using our links, we may earn a commission at no extra cost to you. Thanks for your support!

What is an auteur? Originating from the French New Wave of the 1940s, the term "auteur" describes a movie director who has a very distinct and specific style of filmmaking.

They tend to have complete creative control over their films, which is evident when you can instantly tell who made a film just by watching it unfold on screen. For example, Quentin Tarantino's signature style involves bloodshed, racism, and sharply written dialogue.

Auteur filmmakers often gravitate toward the same cast and crew, and they often play with the same themes and aesthetics.

Here are some of the most famous movie directors and what their cinematic styles involve, including everything from narrative tropes to camera shot types to color grading in post.

22. David Fincher

David Fincher's movies tend to bite of dreary realism. The urban settings are colored in grays and browns to paint locations where modern-day horrors often unfold.

Fincher has used these dull tones to reflect the monotonous lifestyle of capitalist consumerism in Fight Club , as well as the dark nature of the Zodiac murders in Zodiac .

Rainy streets and brown suits litter Fincher's worlds, characterized by themes of murder, social alienation, and psychological torment. His meticulous and perfectionist approach to filmmaking makes Fincher's work extremely detailed and immersive.

Dialogue plays a huge part of Fincher's filmography, with long exposition scenes carefully crafted and performed. The Social Network , with its built-up back-and-forth conversations, is one of the best examples of this.

Fincher also loves the split-comping technique (also called the invisible split-screen technique), the use of flashbacks, and character-centric plot twists. Gone Girl , Se7en , and Fight Club all had viewers gasping in shock at Fincher's big reveals.

21. Danny Boyle

Danny Boyle made his claim to fame with Trainspotting , the 1996 dark comedy about heroin addicts. Trainspotting laid the groundwork for Boyle's signature use of POV shots and surreal sequences.

With its drug-addicted protagonist, Trainspotting has many bizarre scenes, like a baby crawling on the ceiling, or Mark Renton climbing through the grossest toilet in the world and into the ocean. We see this again later in the kaleidoscopic scenes from The Beach and 127 Hours .

Boyle is an auteur with edge, using choppy and fractured editing to mirror his characters' fragmented mental states (whether because they're drugged, starved, or self-mutilated).

If you're a fan of fast-paced movies, Danny Boyle is the director you should check out. His films are rarely static, jumping from one extreme to the next and merging dreamscapes with reality while popping with colors. And don't forget the voice-over narrations!

20. David Lynch

If you thought Stanley Kubrick was weird, try stepping into the world and filmography of David Lynch. The director uses transcendental meditation (as explained in interviews) to get ideas and inspiration for the dreamlike sequences in his films.

Not that his movies are fantasy, per se; they're more like twisted, nightmarish versions of reality. Time zones blur, dreams can cross into day, and nothing is quite as it seems—his uncanny aesthetic is most obvious in Eraserhead and Blue Velvet .

There's something purposefully off about Lynch's films—something you can't quite put your finger on, yet can't take your eyes off of.

Lynch uses lots of atmospheric music and cross-fades to create his ambience. The constant background noises are haunting and hypnotic, drawing you into his world of obsession, murder, and deceit.

His films are essentially surrealist paintings come to life. A modern moving Salvador Dali, if you will.

19. Woody Allen

Woody Allen's films are like a leisurely stroll in the park. The narrative meanders along at its own pace, following the loose threads of casual conversations. They mostly center on domesticated themes, like relationships and pop culture, starring privileged white characters.

One of those characters is often played by Allen himself, who starred in Annie Hall as well as Hannah and Her Sisters . Allen maintains a certain on-screen persona in his movies: the nervous-yet-witty intellectual.

Timothée Chalamet's appearance in A Rainy Day in New York is eerily Allen-esque, chatting and stumbling around the screen neurotically like a young version of the director.

Woody Allen's movies also tend to be sarcastic, stuffed full of inter-textual references and cynical observations.

Moreover, Woody Allen has a love for big cities—Paris, New York, Rome, etc. He loves the hustle and bustle of city life, the romance of rain, and lots of nostalgia.

The stories of love, youth, identity, and art in these settings are far removed from the grit and adventure of blockbusters. And while Allen's films are often small in scope, they're grounded in reality and highly entertaining and easy to relate to.

18. Steve McQueen

Steve McQueen is an esteemed British filmmaker who, despite only having a few movies in his canon compared to most auteurs, has already managed to nab a CBE and an Oscar.

Thematically, McQueen deals with minority groups and marginalized voices. This was first established with his 2008 biopic Hunger , centering on Irish republican prisoners on hunger strike in 1981.

McQueen then covered black history in 12 Years a Slave (2012) and the Small Axe anthology (2020), which was made in support of Black Lives Matter. The sex-addicted protagonist of Shame (2011) could arguably be included as a marginalized character, too.

One thing that marries all of his films together is the use of the long take, which is apparently McQueen's favorite shot.

Whether it's Chiwetel Ejiofor dangling for an uncomfortably long time in a noose in 12 Years a Slave or the 28-minute-long two-shot in Hunger , McQueen knows how to hold our attention without any cuts!

17. John Ford

John Ford, the King of the Western. He directed over 140 films and none of them seemed to decline in quality compared to the last.

Ford single-handedly defined the Western Frontier on the big screen, harking back to Frederic Remington's cowboy paintings. His on-location shooting made space for panoramic wide shots, letting the camera soak up all the expansive desert plains.

Ford created postcard pictures of the American West, which all began with the 1939 classic Stagecoach . Whether in black-and-white or color, the atmosphere of the Wild West is always vividly captured in Ford's work.

Movies like My Darling Clementine (1946), Rio Grande (1950), and The Searchers (1956) went on to influence the Western genre forever.

Ford returned many times to film in Monument Valley, and even when he did shoot on-set, Ford ensured elaborate Californian ranches were built to embody the B-Western. Ford's abundance of non-Western films were equally expressionistic and light on camera movements.

16. Spike Lee

"A Spike Lee Joint" is how this director always opens his movies, which he's never fully explained but we still love anyway.

Spike Lee is such an auteur that there's even a name for his cinematic style: "Spikeism." It entails a lot of bright, popping colors and visual cues that draw your attention to the artistry in front of you.

Some great examples of this include the highlighting of faces in the crowds of BlacKkKlansman (2018) and the primary-colored clothing and gold jewelry in Do the Right Thing (1989).

Most of Lee's characters live in urban landscapes that he injects with personality, as if the settings were characters unto themselves.

His settings are usually New York, as it was in She's Gotta Have It (1986), Crooklyn (1994), Clockers (1995), He Got Game (1998), 25th Hour (2002), and Do the Right Thing (1989).

Beyond the setting and look of his films, Spike Lee focuses on themes of race relations, politics, poverty, and the black community through an insightful blend of pathos and humor.

15. Tim Burton

Tim Burton is the master of gothic-infused cinema. Skeletal protagonists and sunken eyes often mark his claymation movies, which are unique sights to behold.

His desaturated animated fantasy worlds populated by ghosts and ghouls make for excellent family entertainment—all the way from The Nightmare Before Christmas to Corpse Bride .

His live-action movies are just as brilliantly gothic, and they often star Johnny Depp and/or Helena Bonham Carter.

Edward Scissorhands sees a pasty-white, scarred protagonist in a black-buckle outfit and literal scissors for hands. Dark Shadows stars a vampire in a black cape and long fingernails. Sweeney Todd: The Demon Barber of Fleet Street is led by a murderous barber with a streak of white through his frizzy black hair.

All of these spooky-looking, utterly Burton-esque protagonists are played by Johnny Depp to perfeciton.

None of Burton's characters seem to have ever caught sun in their lives. Their skin is as white as bleached sheets, and they're often surrounded by rain and fog. Burton's films are full of dark atmospheres that are perfect for Halloween.

14. Terrence Malick

Terrence Malick has a particular way of capturing the abundance of our world's beauty and the grandness of simplicity.

His filmography is dotted with poetic epics, from The Tree of Life (2011) to A Hidden Life (2019). Notice how both of these films are centered on "life"—in all its stunning, tragic, wonderous ways.

The Tree of Life literally takes us through the birth of the universe, starting in space and through the dinosaur age, then the 1950s, and then modern day. Malick views the mundane in a spiritual, philosophical light with free-roaming cameras that relay the magnitude of nature.

He also achieves these extraordinary visions through unconventional means. For example, Malick loves improv. He often gives his actors reading lists alongside (or instead of) scripts, and he isn't afraid to leave half of his footage on the cutting room floor.

Terrence Malick's bold methods are what allow for such bold storytelling, from Badlands (1973) to The Thin Red Line (1998).

13. James Cameron

James Cameron isn't intimidated by the epic scope of his projects. The most obvious example is Titanic (1997), the now-infamous disaster film that was once the most expensive movie ever made.

As film technology wasn't as advanced back then as it is today, the production of Titanic was a hellish feat that went 138 days over schedule. Like Titanic , Avatar was also a big-budget blockbuster—even if viewers weren't as impressed as they were with a capsizing boat.

The Canadian filmmaker is known for making the most of SFX, pioneering all kinds of technological advancements in the movie industry, and breaking all kinds of records. (As of this writing, James Cameron created three of the five highest-grossing movies of all time!)

Most of Cameron's film canon falls in the realm of sci-fi ( The Terminator ), fantasy ( Avatar ), and action-adventure ( Aliens ).

12. Denis Villeneuve

Denis Villeneuve is a man who has curated his own cinematic language of a sort, often relying on noir-like imagery and smoky cinematography that flows naturally into a complete masterpiece.

He's done this in Dune (2021), Blade Runner 2049 (2017), and Arrival (2016). The futuristic, alien settings of these films are never presented to us in the usual Hollywood space-flick way. Instead, Villeneuve treats every frame like a painting—precise, opulent, and symbolic.

The satisfyingly symmetrical, neon-lit frames in Blade Runner 2049 add a new dimension to the urban cyberpunk vibe that Ridley Scott first laid down in the original Blade Runner (1982). Arrival doesn't feature any green, googly-eyed aliens, but inky limbs billowing in the mist.

Everything about Denis Villeneuve is sleek and professional, and his films always feature strong performances. Even when he steps away from sci-fi, he maintains his stylish depth—as he did in Prisoners (2013).

11. Quentin Tarantino

The fake-blood budget for Quentin Tarantino's films must be extortionate. This movie director loves violence—especially during the his movies' grand finales.

And yet, Tarantino's goring final battles are often preceded by lots of heavy and cursory dialogue. Some of these conversations get so tense you'll find yourself physically holding your breath.

In fact, Tarantino's mastery of tension through dialogue is one of his best triats. Take, for example, the opening to Inglorious Basterds , which is analyzed by film students the world over.

Christoph Waltz plays a Nazi officer who enters a French farm—one where a Jewish family is hiding beneath the floorboards. Waltz's unreadable smile makes it unclear if he knows about the family, and you could cut the tension in that farm with a knife.

Following this, of course, is a shootout. Tarantino often swings between taut silent atmospheres and explosive action sequences in this way. Get used to it.

Tarantino's characters often have excessively detailed conversations—typically in a restaurants, diners, and cafes—sometimes about nothing in particular. In Reservoir Dogs , there's an entire scene where the diamond thieves discuss the pros and cons of tipping culture.

Here are a few key themes to look out for in a Tarantino film: crime, money, death, humor, and revenge.

Some of his favorite camera techniques are POV shots from the trunk of a car, tracking shots, and birds-eye views. He loves to use flashes of black-and-white (particularly in the Kill Bill movies) as well as dance routines and Mexican stand-offs.

10. Ridley Scott

Before Ridley Scott carved out a fresh look for dystopian films with Blade Runner , he solidified his name in the sci-fi genre with Alien (1979).

It's well known that Alien changed film history forever, striking the perfect balance between sci-fi and horror, drawing us in with its iconically chilling tagline: "In space, no one can hear you scream."

Although James Cameron stood on the shoulders of Alien 's success when he made Aliens , it never came close to matching the first film's ability to capture the truly empty void of space. There are no crowded galaxies or planet populations in Alien —just pitch black (and the alien).

Conversely, Blade Runner is stuffed head-to-toe with people, buildings, and lights. Yet, even so, a feeling of loneliness is created from its isolated characters trudging through the perpetual night-time.

All of this points to Ridley Scott's keen eye for production details, giving viewers a feel for the textures and emotions of his lonely worlds—which include gangsters ( American Gangster ), swordfighters ( Kingdom of Heaven ), and historical dramas ( Gladiator ).

9. Alfonso Cuarón

Most cinephiles agree that Harry Potter and the Prisoner of Azkaban (2004) is the best of the Harry Potter movies. Why? Because Alfonso Cuarón directed it, of course!

The third installment marked a clear shift in tone for the series, from children's wizarding fun to seriously dark and evil forces.

Cuarón brought a lot of maturity to the franchise (which helped to keep adult viewers hooked) by drawing on the success of his Mexican road drama Y Tu Mamá También three years earlier.

Symbolism, intentional lighting, and characters that go beyond simple good-versus-bad are some of the key trademarks found in The Prisoner of Azkaban —and the rest of Cuarón's incredible filmography.

And then there's Children of Men (2006), which could easily be considered his greatest movie ever made.

Children of Men is littered with religious motifs—the pregnant Kee reminiscent of the Virgin Mary, copying the pose found in The Birth of Venus , a mother cradling her dead son like Christ in The Pietà —that match his usual dark, grungy atmosphere.

8. Francis Ford Coppola

Francis Ford Coppola is the name behind two of cinema's greatest modern treasures: The Godfather Trilogy (1972–1990) and Apocalypse Now (1979).

This New Hollywood director was at his height during the 1970s, joining the ranks with Martin Scorsese, Woody Allen, and Brian De Palma.

Coppola's characters reject a black-and-white view of morality, with a heavy focus on family—or lack thereof—and themes of paranoia.

Indeed, The Conversation (1974) encapsulated the essence of paranoia, with a protagonist who's literally a surveillance expert obsessed with listening in on people and their plots. It even opens with a long take that mimics binoculars and spycams!

Although Coppola's films have ambitious runtimes and epic productions, his camerawork is fairly simplistic: long takes, tracking shots, slow zooms, still close-ups, etc. These often build up to a big crescendo, like when Michael shoots Sollozzo in The Godfather .

7. Stanley Kubrick

Stanley Kubrick is most recognizable for his use of symmetry. There's usually a clear horizon cutting across the screen, and everything is organized cleanly—precisely—within the frame.

Kubrick's frequent employment of the one-point perspective has produced some iconic shots, such as the hallway of the hotel in The Shining or the above image from 2001: A Space Odyssey .

Kubrick has directed several landmark films, and these films often include bravely long (and bizarre) takes. Kubrick never took the shortcut for anything, with most of his films spanning epic runtimes that had to be cut down for theaters.

Thematically, Kubrick teeters on the strange and the perverse. A Clockwork Orange is famously controversial, and was even banned in Britain after it inspired a string of copycat crimes.

Traumatized characters, insane killers, erotic cults, and evil computers make for a very dark filmography. That said, they're carefully constructed masterpieces worth watching nonetheless.

6. Christopher Nolan

Christopher Nolan loves to mess with your mind—especially through the manipulation of time. And we aren't just talking standard back-and-forth time travel. No, that'd be too easy for Nolan.

His fascination with temporal concepts can be found starting in his earliest work, where the protagonist of Memento covers his body in messages for himself because he suffers from anterograde amnesia.

Furthermore, planets (and dimensions) run at different rates in Interstellar while time inverts on itself in Tenet . Like the title Tenet itself, time is the same forwards as it is backwards in Nolan's most recent mind-bending thriller.

And when Nolan isn't playing with time, he's playing with space. Walls bend and gravity shifts in Inception , where characters can enter and control their dreams.

There's a lot of globe-trotting across Nolan's films, who likes to seek out vast and expansive locations for his epic-scale stories. They tend to be action movies grounded in drama—like the emotional wartime toil of Dunkirk or the father-daughter relationship in Interstellar .

As far as appearance, Nolan's films are generally modern and sleek. The color palettes are dominated by cool tones of silver and grey—cityscapes and expensive cars and Batman's underground garage.

Nolan also has a signature sound design, which often involves a deeply thumping buildup of sci-fi-inspired sounds. If you ever see his movies in IMAX (which we suggest you do!), you can feel the visceral music literally vibrating through your body.

For better or worse, Christopher Nolan's movies are always must-watch because they're more than just films. They're experiences.

5. Wes Anderson

Wes Anderson is one of the most obvious auteurs that come to mind when anyone talks about iconic movie directors with style. He's the king of "Indiewood," merging independent art cinema with mainstream Hollywood.

Visually, his trademarks are symmetrical shots, frame-within-a-frame, and coordinated mise-en-scene. For example, the all-yellow room in Hotel Chevalier and the pink hotel and bakery in The Grand Budapest Hotel . His movies are always bright and cheerfully color-graded—the complete opposite to someone like David Fincher.

Narratively, Wes Anderson focuses on dysfunctional family dynamics (especially father figures), child characters, and themes of death (handled in darkly comic manner).

There's a surrealist quality to his work, which marries upbeat characters with deadpan comedy and highly stylized cinematography.

Wes Anderson often opts for handmade props over realistic ones, adding a rustic home-movie feel to his polished masterpieces.

4. Guillermo del Toro

Guillermo del Toro is set apart from most other movie directors by his twisted sense of fantasy and his love for the supernatural. We're not talking about "mainstream kids"-type fantasy; we mean dark and morally ambiguous fantasy that symbolizes deeper truths.

Del Toro touches on the political and the religious; ghosts and strange animals; the innocent and the evil. He likes to explore huge and heavy ideas through his magical lenses, diluting his films' child-like qualities with more sinister topics like war, abuse, and death.

Doug Jones is a favorite casting choice for del Toro, although you wouldn't necessarily recognize him—because Jones is always decked out in creepy (albeit impressive and detailed) costumes. He's contorted his body as the Pale Man and Fauno in Pan's Labyrinth , and the Amphibian Man in The Shape of Water .

Del Toro's protagonists are usually outcasts with big hearts and troubled lives. He's curious about the underdogs, about nature, about love, decay, and true evil.

Green emerald hues tend to dominate Del Toro's color palette, undergirded by inky metallic tones of black and gray, which all unite to paint the mossy forests and Soviet labs of del Toro's landscapes.

Haunting Catholic imagery litters his work, and he isn't afraid to push the boundaries of what mainstream audiences will enjoy without getting too weirded out!

3. Paul Thomas Anderson

Paul Thomas Anderson is one of those rare directors whose films utterly exude confidence and craft.

He makes masterpieces look so easy, complete with perfectly sculpted scripts, flawless pacing, strong character development, dense dialogue, and lovely cinematography.

As if that weren't enough, his prestigious choice of actors—often working with Daniel Day-Lewis, Joaquin Phoenix, Philip Seymour Hoffman, John C. Reilly, and Philip Baker Hall—certainly doesn't hurt.

Paul Thomas Anderson's films tend to be period pieces, but not of the corsets and duels variety. We're talking hippies ( Inherent Vice ), the Western Frontier ( There Will Be Blood ), and the 1950s ( Phantom Thread ).

Anderson's most recent film, Licorice Pizza (2021), takes place in 1970s California with anti-heroic characters who navigate chaotic lives across an epic runtime. It earned him several Academy Award nominations.

2. Alfred Hitchcock

Alfred Hitchcock is one of the original auteurs of cinema. The legendary director was a meticulous artist who planned out detailed storyboards of every single frame in his movies.

Hitchcock's camera movements are precisely controlled and deliberate, masterfully using character blocking and tracking shots to present the screen like a chessboard of players.

Some of his frequent conventions include blonde female characters (and killing them off, which earned him a reputation for misogyny), birds (as evidenced in The Birds , Vertigo , and even Norman Bates stuffing birds in Psycho ), and the motifs of police, crime, and murder.

Hitchcock was a pioneer of the thriller genre, giving birth to the slasher subgenre with the infamous shower scene in Psycho . Every filmmaking method, technique, and element of mise-en-scene is intentional.

For example, the in-your-face contrast of red and green in Vertigo deliberately signify Scott's love and dangerous obsession, and Madeleine's mythical uncanny presence. The two hues pop out of the screen, symbolically merging and crossing-over as the story unfolds.

Also, you know it's a Hitchcock film when Bernard Herrmann is on the score and Jimmy Stewart is the star among an array of less-than-heroic characters.

1. Akira Kurosawa

Akira Kurosawa is among the top five most influential filmmakers of all time. Although he was Japanese, Kurosawa's films are so reminiscent of Western movies that he helped propel the genre forward in America.

His narratives and visuals are strikingly grand, full of great Japanese empires, battles, samurais, axial cuts, and sweeping views. Every frame is like an opera stage of bloody violence and gorgeous natural backdrops.

Kurosawa's cause-and-effect, hero-driven narratives felt right at home with the films being made in the States at the time, but his fluid camera movements often broke the 180-degree axis rule that Hollywood clung to so tightly, causing the industry to reconsider.

Kurosawa had such a command of his craft that he even employed the cheesy "wipe" transition without it feeling cheap or unprofessional. He also paid immense attention to his soundtracks, but used them to counterpoint the scene's emotion rather than reinforce it.

These things should've been disastrous for him, but they helped make Akira Kurosawa the most legendary filmmaker in Japanese history. Some of his most notable works include Ran (1985), Seven Samurai (1954), Ikiru (1952), and Throne of Blood (1957).

What Does a Director Do? The Film Director’s Job Description

• What Does an Assistant Director Do
• What Does a 2nd Assistant Director Do
• What is a Casting Director
• What is a Second Unit Director
• What Does a Director Do
• Ultimate Guide to Film Crew Positions

K nowing precisely what a director does in every stage of a production’s life cycle is vital to your success in the industry. A director’s job description involves participation in nearly every phase of a project. Because their vision largely impacts the final product, directors work closely with department heads and technicians to bring it to fruition. The duties of a film director are many, but don’t worry: We’ll lay it all out here. So, what does a director do? Let’s break it down.

Watch: What Does a Director Do? Jay Roach Explains

Subscribe for more filmmaking videos like this.

Film director definition

A film director wears many hats.

What is a director's job in a film? Understanding the day-to-day tasks of a film director requires more than a brief definition. And of course, their tasks are altered a bit if they are working in theatre or TV (on a series, many major decisions that inform theme and style are already in place). For a complete guide to the major roles in film production, check out our ultimate guide to film crew positions .

So here, we'll focus primarily on a film director definition.

FILM DIRECTOR JOB DESCRIPTION

What does a film director do.

A  film director  manages the creative aspects of the production. They direct the making of a film by visualizing the script while guiding the actors and technical crew to capture the vision for the screen. They control the film’s dramatic and artistic aspects.

WHAT DOES A DIRECTOR DO FROM START TO FINISH?

• Interpret scripts
• Set the tone of film
• Work with department heads
• Work with casting directors to find talent
• Direct actors and the camera
• Work with editors to assemble the film
• Work with sound and music departments

Now that we've outlined a basic film director job description, let’s hear from an iconic filmmaker on how he implements his vision. 

In an episode of StudioBinder's Director's Chair series, which reveals influential auteurs' tricks of the trade, Quentin Tarantino discusses his particular approach as a film director.

Tarantino has his own version of a film director job description  •   Subscribe on YouTube

Although the film director is involved in all stages of filmmaking, sometimes their role in each of those stages can be misconstrued.

The development stage, for instance, is often confused with the pre-production stage . Typically, development is taken care of by the writers and producers, and directors enter the picture in pre-production.

This isn't always true (especially when the director also happens to have written the script). The director usually makes comments, tweaks, or changes to the script during development. Still, it’s really in pre-production where the film director plays a major role. 

 Pre-Production

What does a director do in pre-production, approach pre-production practically.

Remember: A director's effectiveness in implementing their vision during pre-production boils down to budgeting and script breakdowns as much as it does artistic intent. 

You can see how this plays out in our  Making It series, which follows filmmaker SC Lannom throughout pre-production as he makes the proof of concept for his TV series, Mental Mistakes.

In the first episode, Lannom identifies every essential production element in his script. What does a producer do to aid the director at this stage? In this case, producer Herman Wilkins creates a budget within the production parameters that have been set:

What does a director do? StudioBinder's Making It series breaks it down  •   Subscribe on YouTube

What is a director's role in pre-production, making changes to the script.

Whether they've written the screenplay or not, the director will want to wade through the entire draft during pre-production to gauge how much of it will need rewrites or revisions. 

We put a script into StudioBinder's screenwriting software so you can see what the interplay between director and writer might look like. Note how the filmmakers of the project below exchange comments on plot ideas:

 What is a director's approach to story? No script is ever "finished" 

A director's pre-production tasks, working with department heads.

A film's tone should be thoroughly considered and discussed before the first shot is taken. The film director has the final say on this and it’s up to them to execute it. 

How? By communicating with every department head, from cinematographer to the production designer. The entire crew must be on the same page to be able to execute their vision.

Episode Two of Making It navigates the nitty gritty of hiring department heads. Watch how Lannom and Wilkins hone in on crew members ideally suited for their project.

What do directors do to find the right department heads?

How a film director plans a shoot, storyboarding and shot listing.

Storyboards and shot lists help to plot out your vision beat by beat. To communicate the desired look and feel to the cinematographer and production designer, the director will probably want to share their storyboards. That way, the department heads can make changes or leave comments in real time.

Take this storyboard from Mental Mistakes , for example, which we've uploaded to  StudioBinder's storyboarding software . Each panel includes information on camera shot framing , camera angles , and camera movement that the cinematographer can use to plan shots well in advance. 

Click below to see the entire storyboard.

Click to view the storyboard

Planning to create boards of your own? You'll need to know the fundamentals first. A good place to start: Consult a step-by-step breakdown of how to create storyboards .

If you're working with a small budget, like the crew of Mental Mistakes , you won't be able to pay a location scout. That's where shot lists are especially helpful: They'll help the director and producer conduct the scouting process themselves. 

Watch the third episode of Making It to see how well-planned shot lists allowed Lannom and Wilkins to pin down perfect indoor locations:

The film director definition varies between projects  •   Subscribe on YouTube

What is a director's approach to casting, auditioning and casting actors.

To cast actors that best suit the characters in the script, the director and producer will hone in on some "selects" — the standouts among those who answer their initial casting call. 

From there, auditions can begin. Follow Mental Mistakes ' casting process to learn the key ingredients of a successful audition.

What is a director's job in film casting  •   Subscribe on YouTube

As Wilkins notes in the video, the director should go into auditions with sides — a few pages of the script that showcase the characters' defining traits. When creating script sides for your characters, they'll look something like this:

How to create Script Sides in StudioBinder

Eventually, some auditioning actors will nail their readings of the sides provided to them. Once the director gives the final say on who is best for each role, casting is complete.

WHAT DO DIRECTORS DO IN PRE-PRODUCTION?

Gearing up for the shoot.

In the final stretch of pre-production, the director and producer will need to make sure that the production is insured, work with the cinematographer to procure filming equipment, and work with the 1st AD to create a shooting schedule.

Each crew member shares responsibility for getting these things done. But as Lannom stresses in the Making It episode below, the film director will ultimately take the blame if anything goes wrong:

Gearing up for production  •   Subscribe on YouTube

After checking these things off the pre-production list, the cast and crew will at last be prepared for production. In the next section, we'll look at the director's role during production — which is actually fairly straight-forward now that all the prep is complete.

 Production

What do directors do on set, directing actors and the camera.

This is perhaps the most subjective and creative part any film director job description. It’s up to the director to discover how the actors like to work and adjust accordingly to bring out the best performance.

Extra tips and techniques can be found in our free Filmmaking Techniques video masterclass. Staging the camera in a scene is equally critical, so we provided another free masterclass on blocking actors below.

The film director blocks and stages actors  •   Subscribe on YouTube

Post-production, what does a director do in post, working with editors.

In post-production , the director may provide notes to editors and is often an active participant in this process. They also work with the editor to produce a director’s cut . The director also has to consult with the producer before final cut is complete.

The match cut is just one of many editing techniques and something that is usually planned ahead of time but can also be "found" in the edit. Here's a rundown of how match cuts work and how they can enhance your storytelling.

The Power of the Match Cut  •  Subscribe on YouTube

There are many ways to approach film editing and this process will often take weeks or months to complete. At this point, decisions need to be made — whether to obey or break the rules of continuity editing , which of the many editing transitions to use, and how to control pacing and rhythm in the edit.

what is a director's role in sound design?

Working with the sound department.

Once the final edit of the film is locked, the project moves to sound design . Sound design is created and mixed with the film director sitting in on the sessions and providing feedback.

Don't underestimate the power of sound in filmmaking — storytelling on the soundtrack is just as important as it is in the image. Here's a look at how Tarantino uses sound to balance and inform violence. 

The Sounds of Violence  •  Subscribe on YouTube

Blending both diegetic sound with non-diegetic sound , adding sound effects , this is all a major effort to create the overall illusion for the audience. For more, here's a breakdown of the difference between sound mixing vs. sound editing .

how a director finishes a production

Working with composers.

Directors also work with the composer to incorporate an original score or soundtrack into the final cut.

While the scoring process can be complex, the director's process of choosing a soundtrack is straightforward. The best movie soundtracks use an insertion of popular music to affect a scene is what's known as a "needle drop."

Our video essay on this technique includes examples of how it's used in iconic cinema and we also have a list of the best needle drops ever .

What directors should consider when it comes to music  •  Subscribe on YouTube

Related posts.

• How to Make a Storyboard? →
• Ultimate Guide to Film Crew Positions →
• FREE Masterclass: Directing the Camera →

How to become a film director

Now that you’re familiar with the duties of a film director, we'll explore a few ways of how to travel that rocky yet rewarding career path. There are no specific steps to take to become a director, but the path doesn't have to be scary, either. Let's hear from the pros on what tips and tricks you can use to pave your own way. 

Up Next: Kickstart Your Directing Career →

Showcase your vision with elegant shot lists and storyboards..

Create robust and customizable shot lists. Upload images to make storyboards and slideshows.

Learn More ➜

• Pricing & Plans
• Product Updates
• Featured On
• StudioBinder Partners
• Ultimate Guide to Call Sheets
• How to Break Down a Script (with FREE Script Breakdown Sheet)
• The Only Shot List Template You Need — with Free Download
• Managing Your Film Budget Cashflow & PO Log (Free Template)
• A Better Film Crew List Template Booking Sheet
• Best Storyboard Softwares (with free Storyboard Templates)
• Movie Magic Scheduling
• Gorilla Software
• Storyboard That

A visual medium requires visual methods. Master the art of visual storytelling with our FREE video series on directing and filmmaking techniques.

We’re in a golden age of TV writing and development. More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We’re here to help.

• Making It: From Pre-Production to Screen
• What is Method Acting — 3 Different Types Explained
• How to Make a Mood Board — A Step-by-Step Guide
• What is a Mood Board — Definition, Examples & How They Work
• How to Make a Better Shooting Schedule with a Stripboard
• Ultimate Guide to Sound Recording: Audio Gear and Techniques
• 140 Facebook
• 24 Pinterest
• 38 LinkedIn

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Godard and the Essay Film: A Form That Thinks

Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. War-ner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard. The essay film has often been understood by scholars as an eccentric development within documentary, but Warner shows how an essayistic process of thinking can materialize just as potently within narrative fiction films, through self-critical investigations into the aesthetic , political, and philosophical resources of the medium. Studying examples by Godard and other directors, such as Orson Welles, Chris Marker, Agnès Varda, and Harun Farocki, Warner elaborates a fresh account of essayistic reflection that turns on the imaginative, constructive role of the viewer. Through fine-grained analyses, this book contributes the most nuanced description yet of the relational interface between viewer and screen in the context of the essay film. Shedding new light on Godard's work, from the 1960s to the 2010s, in film, television, video, and digital stereoscopy, Warner distills an understanding of essayistic cinema as a shared exercise of critical rumination and perceptual discovery. http://www.nupress.northwestern.edu/content/godard-and-essay-film

Related Papers

Quarterly Review of Film and Video

Lourdes Monterrubio Ibáñez

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la Victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in order to embody an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

The present article aims to show how the consolidation of the cinematic form of the essay film in Jean-Luc Godard’s work is a consequence of the evolution of his experience in the cinéma militant. This militant cinema emerges from the political and social circumstances that caused May 68 and in the case of the filmmaker is materialized through his participation in the Dziga Vertov Group. The defining elements of the group’s filmic experience –the supremacy of montage, the dialectics between images and sounds and the relevance of the spectator as an active part of a dialogical practice– are the same that bring about the essayistic form when the film is enunciated from the author’s subjectivity. With the analysis of Letter to Jane this paper tries to demonstrate how the irruption of subjectivity in the revolutionary cinematic practice allows the appearance of self-reflexivity and the thinking process that define the cinematic essay. RESUMEN El presente artículo pretende mostrar cómo la consolidación de la forma cinematográfica del film-ensayo en la obra de Jean-Luc Godard es consecuencia de la evolución de su experiencia en el cinéma militant. Un cine militante que surge de las circunstancias político-sociales que dieron lugar a mayo del 68 y que en el caso del cineasta se materializa mediante su participación en el Grupo Dziga Vertov. Los elementos definitorios de la experiencia fílmica del grupo –la primacía del montaje, la dialéctica entre imágenes y sonidos y la relevancia del espectador como parte activa de una práctica dialogística– son los mismos que propician la forma ensayística cuando la obra se enuncia desde la subjetividad del autor. Con el análisis de Letter to Jane pretendemos mostrar cómo la irrupción de la subjetividad en la práctica cinematográfica revolucionaria posibilita la aparición de la auto-reflexión y del proceso de pensamiento definitorios del ensayo cinematográfico.

The Essay Film: Dialogue, Politics, Utopia, ed. Caroline Eades and Elizabeth Papazian, 28-67. London: Wallflower, 2016.

Rick Warner

Adaptation 6, no. 1 (2013): 1-24.

Though it stubbornly resists classification, the essay in cinema still tends to be approached as a genre or quasi-genre constituted through recurring structural traits. This article develops an alternative view by stressing the adaptive principles of the form, specifically as they concern citation, self-portraiture, and an implicit running dialogue with a spectator who potentially shares in the intellectual labor of montage. I offer a pointed discussion of the Essais of Montaigne in order to draw attention to the activity of essaying over time, in and across multiple works. Then, while extending this conception to several of the cinema's most prolific essayists, I focus on how Jean-Luc Godard takes up a Montaignian sense of the practice in his late endeavors of self-portrayal, most notably in his film JLG/JLG: Autoportrait in December and in his video series Histoire(s) du cinéma. Ultimately I argue that what distinguishes the most capable essayists working with sounds and images is a " pedagogical " mission to pass on to the spectator not simply ideas and arguments but a particular way of seeing, a means of investigation to be incisively replayed and re-tested.

The Global Auteur: The Politics of Authorship in 21st Century Cinema, ed. Seung-hoon Jeong and Jeremi Szaniawski, 61-78. New York: Bloomsbury, 2016.

Columbia University Press

Hunter Vaughan

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

Critical Quarterly

Marcia Landy

The Essay Film: Dialogue, Politics, Utopia, co-edited by Elizabeth A Papazian and Caroline Eades. London: Wallflower Press, November 2016 (ISBN: 9780231176958 (pbk), 9780231176941 (hbk), 9780231851039 (e-book).

Elizabeth A Papazian , Caroline Eades

With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema—fiction film, popular cinema, and documentary, video installation, and digital essay. Includes contributions by Luka Arsenjuk, Martine Beugnet, Luca Caminati, Timothy Corrigan, Oliver Gaycken, Anne Eakin-Moss, Ernesto Livon-Grosman, Laura U. Marks, Laura Rascaroli, Mauro Resmini, and Eric Zakim.

Journal of Film and Video

This article argues that video technology plays a decisive role in Godard’s double movement toward the “cinematic” and the “post-cinematic” as demonstrated in his videographic essay Histoire(s) du Cinéma. It claims that Godard’s videographic refashioning of cinema in the technical, ontological, and philosophical manners necessarily involves bringing cinema to its limits. As this article will discuss in the ensuing two parts, video’s material and technical elements transform the methods of cinematic montage and the ontological status of the films extracted from disparate sources extensively. As a result, video in Histoire(s) ultimately serves both as a tool for the postcinematic expansion of montage and as a “synthesizer” of discrete images (films, paintings, photographs) and soundtracks whose affiliated media are originally distinct from each other.

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Jomec Journal

Audrey Jean

Jenny Chamarette

Radical Philosophy

Esther Leslie

Alphaville: Journal of Film and Screen Media

carolina sourdis

Thomas Helbig

Dork Zabunyan

New Review of Film and Television Studies

Glen W Norton

David Brancaleone

Journal of French and Francophone Philosophy

Andrew Ryder

Laura Rascaroli

Scope: An Online Journal of Film and Television Studies

Sergey Toymentsev

Noni Geiger

Studies in European Cinema

Ágnes Pethő

Maria Elena de las Carreras

Comparative Cinema

Studies in French Cinema

Ahmet Süner

Radical Philosophy 2.04

Alex Fletcher

Historical Journal of Film, Radio and Television (32) 4, 2012: 637-639

Dagmar Brunow

James Harvey

Daniel Yacavone

Teresa Lima

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

What Does A Film Director Do: Everything You Need To Know

Film directors make creative decisions to determine the look of a movie, including those that impact the special effects , filming locations , shot angles, and actors’ performances. These professionals participate in virtually every phase of a filming project.

A Film Director Wears Many Hats

The day-to-day tasks of a film director vary as the production of the film goes on. At the start of a project, they are responsible for reviewing and interpreting scripts, establishing the film’s tone, and choosing their assistant directors. Directors then begin working with other department heads on set, including those involved with casting, design, and camera work.

Responsibilities

Some of the key responsibilities of a film director include:

• Reviewing and adjusting scripts and selecting which ones to turn into films
• Monitoring and approving film production budgets
• Watching auditions, selecting actors, and directing actors
• Overseeing all aspects of the production process, both on and off the set
• Working with the sound and music departments
• Working with editors to produce the final version of the film
• Ensuring that the film stays within its budget and on its timeline

What Roles Does a Director Play Throughout the Filmmaking Process?

The director is heavily involved in all stages of filmmaking, from the very start of the project to the final cut. However, their role in each stage can be varied. For example, before even stepping foot on a film set, a director is heavily involved behind the scenes. Take a look at the different roles a director plays throughout the filmmaking process.

Development Phase

Developing the story and the script often takes place before pre-production begins, and the director won’t usually become involved in the project until the pre-production phase. However, if a director has written the script, they would be involved earlier in the project. Directors who are more hands-on may also make comments or changes to the script during the development phase.

Pre-Production Phase

A director must take a practical approach during the pre-production phase, as their vision will be constrained by the project’s budget and script. The first step in pre-production is working with others who will be involved in the production process to create a game plan.

The director can request revisions to the script during this phase, often working closely with the writers responsible for the story. Directors also review the tone of the film and communicate their vision to the heads of the other departments before production begins.

Another step in pre-production is listing shots and creating storyboards. This phase also includes auditioning and casting actors to find the right people to fill the roles and bring the story to life.

Production Phase

The next phase in the process is production, which happens on the film set. During this phase, the director will watch the actors rehearse and make important decisions regarding the look of the film and its overall direction.

The most important role of a film director during the production phase is directing the actors and the camera to get the right angles, shots, and results. The director must get to know the actors and understand how they like to do their jobs, and then they can adjust their directing to bring out the best possible performance.

Directors work with the actors during rehearsals to ensure that their vision for the storyline and the finished product is taken into account. The filming process also relies heavily on the director, as they must be happy with the takes before moving onto the next scene in the story.

Post-Production Phase

The final phase of a film is post-production , which may take place on or off the set. This is when all of the parts come together to create a final product, and the director will be heavily involved to ensure that the film turns out the way they envisioned.

During this phase, they work closely with the film’s editors and produce a director’s cut as well as the final cut. They also work with music and sound departments to make sure their vision is reflected in the final cut, which will include sound effects, background noise, and music to set each scene.

Becoming a Film Director

You must have a creative eye to succeed as a director. You need to be able to visualize a finished project and see it through to completion while working with a wide range of moving parts. Most directors and aspiring directors spend a lot of their time watching films to figure out what works and understand what went into making each scene.

What Training Does a Director Need?

Many film directors have undergraduate degrees in film or related fields. However, college is not a prerequisite for a director — experience is highly valued in the movie industry.

Qualifications

While a degree isn’t necessarily required, you do have to sell yourself as a director and convince producers and financiers to take you on to work on their projects. It is crucial to gain experience and build your skills to show that you are worth taking a chance on to produce films that will interest and appeal to audiences.

To be a successful director, you need the following skills:

• Ability to motivate
• Sharp eye for detail
• Communication skills to give directions to actors
• Organization
• Ability to stick to budgets and timelines

Professional Development and Progression

Join professional organizations such as the American Society of Cinematographers and the Motion Picture Editors Guild to help with networking and progressing as a director.

What to Expect

Film directors often work on a freelance basis, so the work isn’t necessarily steady or guaranteed. Most agents will only take on directors who have proven their ability to direct films, so you should enter your work in festivals and competitions to gain exposure.

Salary and Benefits

The U.S. Bureau of Labor Statistics includes producers and directors in one category, which falls under the entertainment and sports umbrella. According to statistics, the median pay in 2019 was $74,420 per year. However, directors are paid per project rather than receiving an annual salary. Some more established directors receive a percentage of their films’ box office earnings.

How Do I Find My Style as a Director?

It’s always smart to take multiple approaches to different genres and types of films before identifying your personal style. When working through these challenges, you can focus on embracing the influences that give you a creative vision, owning the characters in your productions, maintaining your integrity, and making each film you direct personal and meaningful.

How Do I Start?

To become a film director, you must showcase your work and convince a producer to take you on to lead their project. This often requires building strong connections in the industry and gaining as much experience as possible. As you work on projects, assemble a reel and consider working with an agent who will pitch you to others in the film industry.

Working as a film director gives you the chance to expose your creative vision through visual storytelling and share that vision with viewers across the globe. If you aspire to work in this field, consider going through an educational program like the Nashville Film Institute that will provide you with the valuable insights you need to start.

Movie Director: Everything You Need To Know

Casting Director Everything You Need To Know The director must understand the main steps of filmmaking as they typically work closely with department heads, ensuring

Film School Scholarships: Everything You Need To Know

Make Your Indy Film Hobby a Reality There are many film scholarships that can help students pay for film studies degrees. For a film school

Viewfinder – Everything You Need To Know

Photography is the art of capturing light. To photograph your scene effectively, you need to know how light plays in the environment you wish to

How to Become a Producer? Everything You Need To Know

Being a producer is one of the essential leadership positions one can hold. Knowing what they do, how much they earn, and how to become

Director Of Photography: Everything You Need To Know

What Does a Director of Photography Do? A director of photography, also called a cinematographer, DP, or DoP, shapes how a film or television series

Online Graphic Designing Courses: 87 Top Courses to Consider

Online graphic designing courses can help people build their careers by: Designing promotional materials, such as digital content and movie posters Developing a website, social

Location Manager: Everything You Need To Know

Location Manager – Everything You Need To Know           A location manager serves as a liaison between the producer or director

Screenwriter Class: 20 Best Classes to Consider

A screenwriter class teaches you what you need to know when writing for television or film. Aspiring filmmakers take this type of class to sharpen

How To Get Verified on Instagram? Everything You Need to Know

As an influencer, you may want to gain the trust of your followers. In spite of having a custom content strategy in place, your audiences

Meisner Technique: Everything You Need to Know

The Meisner Technique is a unique training form that teaches actors to respond to stimuli and trust their instincts. It’s a great way to tap

How to become an Instagram Influencer?: Everything You Need to Know

Influencers are Instagram users who have noted credibility and audience, who can convince others because of their trustworthiness and authenticity. Since most people embrace digital

Prop Master: Everything You Need To Know

Prop masters, or property masters, make sure that actors have the right props when they need them while staying within budget. Prop masters usually work

Dramatic Irony – Everything You Need To Know

Like visual storytelling, scriptwriting is a significant aspect of filmmaking. An excellent script gives your audience an immersive experience, compelling them to watch the movie

Production Design: Everything You Need To Know

Production Design – Everything You Need to Know           Production design includes all the visual elements that make up the concept

Mockumentary – Everything You Need To Know

A mockumentary is a documentary-style film with a fictitious subject. For the most part, mockumentaries present their subjects sarcastically. In addition, many mockumentaries incorporate improv-style

Cinematic Shots: 16 Shots You Should Know

Cinematic shots are a series of frames that run uninterrupted in a visually appealing or unique way. Filmmakers often utilize cinematic shots to present ideas,

Polaroid Camera Film – Everything You Need To Know

Polaroid film, often simply referred to as “Polaroid,” is an instant film known for its iconic ability to produce tangible photographs within minutes of capturing

Foil Character – Everything You Need To Know

What is a foil character? A foil character is used to create contrasts with another character – typically the central character – to bring out

Explaining Hollywood: How to get a job as a director

• Copy Link URL Copied!

Steven Spielberg once described his job this way: “I dream for a living.”

The role of a director is often the most esteemed on a production. They create the vision for a story, run the set and call “action!” for the performers. They are revered, respected and sometimes feared.

Most people are familiar with live action feature directors like Spielberg, James Cameron, Kathryn Bigelow, Spike Lee or Alejandro González Iñárritu. But there are many different kinds of directors, and the routes to become one are many and varied.

Here’s a primer on the profession and how to break into the role.

Who becomes a director?

Directors for many years have been overwhelmingly white and male. “And here are the all-male nominees,” quipped Natalie Portman during the 2018 Golden Globes.

Like other Hollywood unions, the Directors Guild of America has been striving to diversify its membership. The DGA has various steering committees that represent marginalized groups to increase their representation across the industry.

That improvement has come, but the latest survey by the DGA found that out of 2,700 episodes of TV produced in the 2020-21 season, 62% of directors were white and 62% were male.

Diversity in the feature film world is much lower than in television. In its latest survey, the DGA found that of the 651 features released in 2017, just 12% of the directors were women. Of the 145 directors of DGA features released in North America in 2017 with a minimum box office of $250,000, just 10% were directors of color.

Ava DuVernay doubles down on women directors for ‘Queen Sugar’: Meet the new crew

June 20, 2017

As a director, strong skills in leadership and storytelling are essential.

“It’s huge that you understand story, that you understand how to break down a script, that you have a very strong visual sensibility,” said Regina Ainsworth, an L.A.-based short features director.

Leadership styles will vary from director to director.

“Their manners and personalities can be extraordinarily different but on some deep level, they’re imposing their vision on the world,” said Stephen Galloway, dean of Dodge College of Film and Media Arts at Chapman University.

Hollywood Inc.

You can start your Hollywood career from anywhere. Here’s how

The first step in your Hollywood career shouldn’t be paying L.A. rent. Here’s how to take your first steps toward a career in the entertainment industry, according to experts.

June 28, 2021

How do you get started?

Film school is an obvious path, connecting aspiring live-action film and TV directors to a community of filmmakers and future contacts.

Some directors also get their start at art schools.

“Many [art schools] are looking for fresh new voices and communities who want to creatively express themselves,” said Cheryl Dunye , who has directed episodes of “Bridgerton” and “Queen Sugar.” She got her start in visual arts and earned a master of fine arts from Rutgers University.

Many successful graduates leverage a good student or short film into a role directing a documentary, or into raising money for an independent feature.

Kevin Jones, chair of the graduate film program at Chapman University, said that about three to five years after graduating film school, students typically have used their thesis film, or other short film, to convince producers to let them helm a low-budget feature.

As they get established, Jones advised, students may also have to focus on other filmmaking skills, such as writing their own material.

One example is Oscar winner Damien Chazelle, who wrote horror movies before making a short version of “Whiplash,” which gave him the break to eventually make the Oscar-winning full-length version.

Chapman’s Galloway said one of the school’s directing students recently got a production assistant role on a reality show with the hope that he will be able to climb the ladder.

“But it’s very difficult and there is no set path,” Galloway said. “For somebody who wants a regular and steady income, it’s the worst of all possible careers.”

Ainsworth started as an actor, training at Pacific Conservatory Theater in Santa Maria, Calif., but moved over to directing. She describes herself as a multihyphenate. When she is not directing, she is doing voiceover work, writing or producing. She encourages would-be directors to create their own productions.

“Find like-minded collaborators and a story that is uniquely yours, that you really want to tell,” Ainsworth said.

In animation, anyone who really knows their craft as they rise up the ranks in film or TV has the chance of making the transition to director, said Jennifer Yuh Nelson, whose directing credits include the films “Kung Fu Panda 2” and the Netflix series “Love, Death & Robots.”

She recommends looking for a mentor at a trade show or conference.

“Mentorship is incredibly important. It’s the way that you can get through that initial barrier of trust,” Nelson said.

Five essential tips we learned in 2022 about starting a career in Hollywood

In our second year building The Times’ guide to breaking into Hollywood, we’ve learned even more helpful advice. Here’s some of the best.

Dec. 27, 2022

What are the career paths?

There are numerous types of jobs for people with directing skills. In addition to feature film directors, there are also those who specialize in reality TV, documentaries, commercials and animation.

The boom in scripted TV has created a plethora of new job opportunities, as each episode of TV requires its own director .

In animation, the typical career path for directors is through the story department, said Nelson, who started as a storyboard artist. But directors have also started as character animators, editors and heads of layout.

“It’s about the ability to do storytelling in all forms,” she said.

Explaining Hollywood: How to get a job as a TV director

Directing TV is more competitive than ever with the wealth of high-quality storytelling in television and streaming. How do you break in? Here’s what you need to know.

Dec. 7, 2021

How do you make money? And what kind of money?

When it comes to making money as a director, Chapman’s Jones quoted the adage, “You can make a killing, but you can’t make a living.”

Jones estimates that a new director could earn $30,000 for a low-budget movie over two years. With that experience, a young filmmaker could get a break into a festival like Sundance , and the next directing gig could pay $250,000, he said.

The very top directors can earn between $5 million and $12 million per film, Galloway estimated.

Each film, however, can require years of work.

For live-action film and TV directors who belong to the Directors Guild of America, the union sets minimum payment rates that vary by the budget level of the production.

For theatrical motion picture films, the minimum rate is $21,765 a week for a high-budget production and $15,544 for shorts and documentaries. The rate for a director for prime-time network TV shows starts at $4,230 a day, while non-prime-time rates start at $2,797, according to the DGA.

There is a wide gap in what directors get paid in animation as well, according to Nelson.

“I know many directors who work months developing a project without any pay at all,” she said. “It’s often feast and famine, so I kind of seriously joke with starting directors that it helps to be independently wealthy or have no bills.”

Directing a short film is expensive. How to crowdfund it

So you want to direct, but you don’t have a wealthy benefactor or thousands of dollars to spare? It might be time to think about raising money from the throngs of movie lovers.

April 25, 2022

How is this career different than it was 10 or 25 years ago?

As streaming television has boomed in the last few years, the clout of the movie director has also changed.

“It’s gone from the heyday of the ‘70s when the center of the business was these extraordinary filmmakers like Martin Scorsese, David Lynch [and], later, Quentin Tarantino,” Galloway said. “They’re actually very few of those ‘auteurs’ who can command a massive budget on their name alone.”

Instead, today the dominant creators are TV super-producers like Ryan Murphy and Shonda Rhimes — showrunners who hire directors for the material they write and produce.

“The directors the public thinks about, and so do students, are the ones with their name above the title, not 98% of working directors, who are team players and executing somebody else’s vision,” Galloway said.

The advent of digital cameras, editing tools and distributors (not just Netflix, but also YouTube and Vimeo) has also transformed the opportunities in the field. The barriers to entry have been all but erased, which makes it easier to make and show a film while stiffening the competition for audiences. Meanwhile, the advent of ever-more sophisticated special effects has made it possible to tell new types of stories and bend reality in new ways, enabling directors to bring to the screen more of what they can imagine.

How to pay your bills when you’re starting out in Hollywood

For many people who pursue entertainment as a career, it takes years to get yourself to where you are making money from your creative work. For making money in the meantime, there’s always waiting tables. But more and more people are turning to platforms like TikTok, Twitch and Patreon.

What advice do pros always hear that is wrong?

Aspiring directors will often hear that opportunities will just present themselves if they went to a good film school, but that isn’t always true, especially for marginalized groups.

“A lot of folks who are from a variety of communities go to these programs and they are just looked over,” Dunye said.

Ainsworth says she often hears advice such as, “Just go out and film on your iPhone,” but she doesn’t believe the technology cuts it.

“I don’t find the iPhone stuff holds up in the marketplace,” Ainsworth said. “It’s so hard to get it to be marketplace-ready or [comparable] to all the other people that are shooting on large-format cameras. You have to have the goods to show in order to get yourself the work.”

Explaining Hollywood: How to get a job as a producer

Film producers will tell you that there’s no typical day in the job -- and there’s no single path to becoming a producer. But there are traits you can develop and entertainment industry paths to follow that will set you up for a career in Hollywood.

What’s some good advice?

You have a better chance getting into festivals with short films, so focus there at first, according to Dunye. “Keep it short and sweet at the beginning,” she said.

Dunye also advises looking abroad as more distributors focus on international markets.

“Show up at international film festivals, events and screenings,” she said. “There’s so many opportunities abroad, it’s ridiculous.”

Jones advises practicing as much as possible.

“People want to basically believe they can shoot from the hip, and that their artistic experience will somehow win them over,” Jones said. “No, it’s repetition.”

Galloway suggests scouring for new material — optioning books and articles to form relationships with writers who can help put together a script, and even going to acting classes.

“A lot of would-be directors think it is all about the equipment, the camera, the lenses, but in fact, your job is going to be interpreting scripts and giving good notes, and it’s going to be guiding the actors,” Galloway said.

Another bit of guidance: Check your ego.

“Really good advice is just not to take things too personally, good or bad,” Nelson said. “A director’s job is to protect the project, the integrity of that project and the vision of that project, and you have to listen to what that project needs.”

What do you want to know about working in Hollywood?

Send the L.A. Times your questions about breaking into and working in the entertainment industry.

More to Read

‘It’s like you’re starting from scratch’: Hollywood’s below-the-line artists pivot to other gigs

Aug. 26, 2024

Movie directors, the lowkey icons of style

July 31, 2024

How can film and TV workers cope with Hollywood slowdown? Financial experts offer tips

June 13, 2024

Inside the business of entertainment

The Wide Shot brings you news, analysis and insights on everything from streaming wars to production — and what it all means for the future.

You may occasionally receive promotional content from the Los Angeles Times.

Anousha Sakoui is a former entertainment industry writer for the Los Angeles Times who covered topics such as labor and litigation in Hollywood. She has been a journalist for over 20 years, having joined The Times in 2019 and reported for the Financial Times, Wall Street Journal and Dow Jones Newswires, Bloomberg News and Businessweek Magazine.

More From the Los Angeles Times

What to know about the Disney, ESPN blackout on DirecTV

As Oasis reunites, U.K. government blasts Ticketmaster for ‘vastly inflated’ prices

Sept. 3, 2024

‘Get to know your enemy.’ How Hollywood workers are learning to use AI

Sept. 2, 2024

ESPN, ABC and other Disney channels dropped from DirecTV in contract dispute

Sept. 1, 2024

How to Write a Film Analysis Essay: Examples, Outline, & Tips

A film analysis essay might be the most exciting assignment you have ever had! After all, who doesn’t love watching movies? You have your favorite movies, maybe something you watched years ago, perhaps a classic, or a documentary. Or your professor might assign a film for you to make a critical review. Regardless, you are totally up for watching a movie for a film analysis essay.

However, once you have watched the movie, facing the act of writing might knock the wind out of your sails because you might be wondering how to write a film analysis essay. In summary, writing movie analysis is not as difficult as it might seem, and Custom-writing.org experts will prove this. This guide will help you choose a topic for your movie analysis, make an outline, and write the text.️ Film analysis examples are added as a bonus! Just keep reading our advice on how to get started.

❓ What Is a Film Analysis Essay?

• 🚦 Film Analysis Types

📽️ Movie Analysis Format

✍️ how to write a film analysis, 🎦 film analysis template, 🎬 film analysis essay topics.

• 📄 Essay Examples

🔗 References

To put it simply, film analysis implies watching a movie and then considering its characteristics : genre, structure, contextual context, etc. Film analysis is usually considered to be a form of rhetorical analysis . The key to success here is to formulate a clear and logical argument, supporting it with examples.

🚦 Film Analysis Essay Types

Since a film analysis essay resembles literature analysis, it makes sense that there are several ways to do it. Its types are not limited to the ones described here. Moreover, you are free to combine the approaches in your essay as well. Since your writing reflects your own opinion, there is no universal way to do it.

• Semiotic analysis . If you’re using this approach, you are expected to interpret the film’s symbolism. You should look for any signs that may have a hidden meaning. Often, they reveal some character’s features. To make the task more manageable, you can try to find the objects or concepts that appear on the screen multiple times. What is the context they appear in? It might lead you to the hidden meaning of the symbols.
• Narrative structure analysis . This type is quite similar to a typical literature guide. It includes looking into the film’s themes, plot, and motives. The analysis aims to identify three main elements: setup, confrontation, and resolution. You should find out whether the film follows this structure and what effect it creates. It will make the narrative structure analysis essay if you write about the theme and characters’ motivations as well.
• Contextual analysis . Here, you would need to expand your perspective. Instead of focusing on inner elements, the contextual analysis looks at the time and place of the film’s creation. Therefore, you should work on studying the cultural context a lot. It can also be a good idea to mention the main socio-political issues of the time. You can even relate the film’s success to the director or producer and their career.
• Mise-en-scene analysis . This type of analysis works with the most distinctive feature of the movies, audiovisual elements. However, don’t forget that your task is not only to identify them but also to explain their importance. There are so many interconnected pieces of this puzzle: the light to create the mood, the props to show off characters’ personalities, messages hidden in the song lyrics.

To write an effective film analysis essay, it is important to follow specific format requirements that include the following:

• Standard essay structure. Just as with any essay, your analysis should consist of an introduction with a strong thesis statement, body paragraphs, and a conclusion. The main body usually includes a summary and an analysis of the movie’s elements.
• Present tense for events in the film. Use the present tense when describing everything that happens in the movie. This way, you can make smooth transitions between describing action and dialogue. It will also improve the overall narrative flow.
• Proper formatting of the film’s title. Don’t enclose the movie’s title in quotation marks; instead, italicize it. In addition, use the title case : that is, capitalize all major words.
• Proper use of the characters’ names. When you mention a film character for the first time, name the actor portraying them. After that, it is enough to write only the character’s name.
• In-text citations. Use in-text citations when describing certain scenes or shots from the movie. Format them according to your chosen citation style. If you use direct quotes, include the time-stamp range instead of page numbers. Here’s how it looks in the MLA format: (Smith 0:11:24–0:12:35).

Even though film analysis is similar to the literary one, you might still feel confused with where to begin. No need to worry; there are only a few additional steps you need to consider during the writing process.

Need more information? It can be found in the video below.

Starting Your Film Analysis Essay

There are several things you need to do before you start writing your film analysis paper. First and foremost, you have to watch the movie. Even if you have seen it a hundred times, you need to watch it again to make a good film analysis essay.

Note that you might be given an essay topic or have to think of it by yourself. If you are free to choose a topic for your film analysis essay, reading some critical reviews before you watch the film might be a good idea. By doing this in advance, you will already know what to look for when watching the movie.

In the process of watching, keep the following tips in mind:

• Consider your impression of the movie
• Enumerate memorable details
• Try to interpret the movie message in your way
• Search for the proof of your ideas (quotes from the film)
• Make comments on the plot, settings, and characters
• Draw parallels between the movie you are reviewing and some other movies

Making a Film Analysis Essay Outline

Once you have watched and possibly re-watched your assigned or chosen movie from an analytical point of view, you will need to create a movie analysis essay outline . The task is pretty straightforward: the outline can look just as if you were working on a literary analysis or an article analysis.

• Introduction : This includes the basics of the movie, including the title, director, and the date of release. You should also present the central theme or ideas in the movie and your thesis statement .
• Summary : This is where you take the time to present an overview of the primary concepts in the movie, including the five Ws (who, what, when, where, and why)—don’t forget how!—as well as anything you wish to discuss that relates to the point of view, style, and structure.
• Analysis : This is the body of the essay and includes your critical analysis of the movie, why you did or did not like it, and any supporting material from the film to support your views. It would help if you also discussed whether the director and writer of the movie achieved the goal they set out to achieve.
• Conclusion: This is where you can state your thesis again and provide a summary of the primary concepts in a new and more convincing manner, making a case for your analysis. You can also include a call-to-action that will invite the reader to watch the movie or avoid it entirely.

You can find a great critical analysis template at Thompson Rivers University website. In case you need more guidance on how to write an analytical paper, check out our article .

Writing & Editing Your Film Analysis Essay

We have already mentioned that there are differences between literary analysis and film analysis. They become especially important when one starts writing their film analysis essay.

First of all, the evidence you include to support the arguments is not the same. Instead of quoting the text, you might need to describe the audiovisual elements.

However, the practice of describing the events is similar in both types. You should always introduce a particular sequence in the present tense. If you want to use a piece of a dialogue between more than two film characters, you can use block quotes. However, since there are different ways to do it, confirm with your supervisor.

For your convenience, you might as well use the format of the script, for which you don’t have to use quotation marks:

ELSA: But she won’t remember I have powers?

KING: It’s for the best.

Finally, to show off your proficiency in the subject, look at the big picture. Instead of just presenting the main elements in your analysis, point out their significance. Describe the effect they make on the overall impression form the film. Moreover, you can dig deeper and suggest the reasons why such elements were used in a particular scene to show your expertise.

Stuck writing a film analysis essay? Worry not! Use our template to structure your movie analysis properly.

Introduction

• The title of the film is… [title]
• The director is… [director’s name] He/she is known for… [movies, style, etc.]
• The movie was released on… [release date]
• The themes of the movie are… [state the film’s central ideas]
• The film was made because… [state the reasons]
• The movie is… because… [your thesis statement].
• The main characters are… [characters’ names]
• The events take place in… [location]
• The movie is set in… [time period]
• The movie is about… [state what happens in the film and why]
• The movie left a… [bad, unforgettable, lasting, etc.] impression in me.
• The script has… [a logical sequence of events, interesting scenes, strong dialogues, character development, etc.]
• The actors portray their characters… [convincingly, with intensity, with varying degree of success, in a manner that feels unnatural, etc.]
• The soundtrack is [distracting, fitting, memorable, etc.]
• Visual elements such as… [costumes, special effects, etc.] make the film [impressive, more authentic, atmospheric, etc.]
• The film succeeds/doesn’t succeed in engaging the target audience because it… [tells a compelling story, features strong performances, is relevant, lacks focus, is unauthentic, etc.]
• Cultural and societal aspects make the film… [thought-provoking, relevant, insightful, problematic, polarizing, etc.]
• The director and writer achieved their goal because… [state the reasons]
• Overall, the film is… [state your opinion]
• I would/wouldn’t recommend watching the movie because… [state the reasons]
• Analysis of the film Inception by Christopher Nolan .
• Examine the rhetoric in the film The Red Balloon .
• Analyze the visual effects of Zhang Yimou’s movie Hero .
• Basic concepts of the film Interstellar by Christopher Nolan.
• The characteristic features of Federico Fellini’s movies.  
• Analysis of the movie The Joker .
• The depiction of ethical issues in Damaged Care .  
• Analyze the plot of the film Moneyball .
• Explore the persuasive techniques used in Henry V .
• Analyze the movie Killing Kennedy .
• Discuss the themes of the film Secret Window .
• Describe the role of audio and video effects in conveying the message of the documentary Life in Renaissance .  
• Compare and analyze the films Midnight Cowboy and McCabe and Mrs. Miller .  
• Analysis of the movie Rear Window . 
• The message behind the film Split .
• Analyze the techniques used by Tim Burton in his movie Sleepy Hollow .
• The topic of children’s abuse and importance of trust in Joseph Sargent’s Sybil .
• Examine the themes and motives of the film Return to Paradise by Joseph Ruben.
• The issues of gender and traditions in the drama The Whale Rider.   
• Analysis of the film Not Easily Broken by Duke Bill. 
• The symbolism in R. Scott’s movie Thelma and Louise .
• The meaning of audiovisual effects in Citizen Kane .  
• Analyze the main characters of The Girl with the Dragon Tattoo .  
• Discuss the historical accuracy of the documentary The Civil War .  
• Analysis of the movie Through a Glass Darkly . 
• Explore the core idea of the comedy Get Out .
• The problem of artificial intelligence and human nature in Ex Machina .  
• Three principles of suspense used in the drama The Fugitive .
• Examine the ideas Michael Bay promotes in Armageddon .
• Analyze the visual techniques used in Tenet by Christopher Nolan.
• Analysis of the movie The Green Mile .
• Discrimination and exclusion in the film The Higher Learning .  
• The hidden meaning of the scenes in Blade Runner .
• Compare the social messages of the films West Side Story and Romeo + Juliet .
• Highlighting the problem of children’s mental health in the documentary Kids in Crisis .
• Discuss the ways Paul Haggis establishes the issue of racial biases in his movie Crash .
• Analyze the problem of moral choice in the film Gone Baby Gone .
• Analysis of the historical film Hacksaw Ridge .
• Explore the main themes of the film Mean Girls by Mark Walters .
• The importance of communication in the movie Juno .
• Describe the techniques the authors use to highlight the problems of society in Queen and Slim .  
• Examine the significance of visual scenes in My Family/ Mi Familia .  
• Analysis of the thriller Salt by Phillip Noyce. 
• Analyze the message of Greg Berlanti’s film Love, Simon .
• Interpret the symbols of the film The Wizard of Oz (1939).
• Discuss the modern issues depicted in the film The Corporation .
• Moral lessons of Edward Zwick’s Blood Diamond . 
• Analysis of the documentary Solitary Nation . 
• Describe the audiovisual elements of the film Pride and Prejudice (2005) .
• The problem of toxic relationships in Malcolm and Marie .

📄 Film Analysis Examples

Below you’ll find two film analysis essay examples. Note that the full versions are downloadable for free!

Film Analysis Example #1: The Intouchables

Raising acute social problems in modern cinema is a common approach to draw the public’s attention to the specific issues and challenges of people facing crucial obstacles. As a film for review, The Intouchables by Oliver Nakache and Éric Toledano will be analyzed, and one of the themes raised in this movie is the daily struggle of the person with severe disabilities. This movie is a biographical drama with comedy elements. The Intouchables describes the routine life of a French millionaire who is confined to a wheelchair and forced to receive help from his servants. The acquaintance of the disabled person with a young and daring man from Parisian slums changes the lives of both radically. The film shows that for a person with disabilities, recognition as a full member of society is more important than sympathy and compassion, and this message expressed comically raises an essential problem of human loneliness.

Movie Analysis Example #2: Parasite

Parasite is a 2019 South Korean black comedy thriller movie directed by Bong Joon-ho and is the first film with a non-English script to win Best Picture at the Oscars in 2020. With its overwhelming plot and acting, this motion picture retains a long-lasting effect and some kind of shock. The class serves as a backbone and a primary objective of social commentary within the South Korean comedy/thriller (Kench, 2020). Every single element and detail in the movie, including the student’s stone, the contrasting architecture, family names, and characters’ behavior, contribute to the central topic of the universal problem of classism and wealth disparity. The 2020 Oscar-winning movie Parasite (2019) is a phenomenal cinematic portrayal and a critical message to modern society regarding the severe outcomes of the long-established inequalities within capitalism.

Want more examples? Check out this bonus list of 10 film analysis samples. They will help you gain even more inspiration.

• “Miss Representation” Documentary Film Analysis
• “The Patriot”: Historical Film Analysis
• “The Morning Guy” Film Analysis
• 2012′ by Roland Emmerich Film Analysis
• “The Crucible” (1996) Film Analysis
• The Aviator’ by Martin Scorsese Film Analysis
• The “Lions for Lambs” Film Analysis
• Bill Monroe – Father of Bluegrass Music Film Analysis
• Lord of the Rings’ and ‘Harry Potter’ Film Analysis
• Red Tails by George Lucas Film Analysis

Film Analysis Essay FAQ

• Watch the movie or read a detailed plot summary.
• Read others’ film reviews paying attention to details like key characters, movie scenes, background facts.
• Compose a list of ideas about what you’ve learned.
• Organize the selected ideas to create a body of the essay.
• Write an appropriate introduction and conclusion.

The benefits of analyzing a movie are numerous . You get a deeper understanding of the plot and its subtle aspects. You can also get emotional and aesthetic satisfaction. Film analysis enables one to feel like a movie connoisseur.

Here is a possible step by step scenario:

• Think about the general idea that the author probably wanted to convey.
• Consider how the idea was put across: what characters, movie scenes, and details helped in it.
• Study the broader context: the author’s other works, genre essentials, etc.

The definition might be: the process of interpreting a movie’s aspects. The movie is reviewed in terms of details creating the artistic value. A film analysis essay is a paper presenting such a review in a logically structured way.

• Film Analysis – UNC Writing Center
• Film Writing: Sample Analysis // Purdue Writing Lab
• Yale Film Analysis – Yale University
• Film Terms And Topics For Film Analysis And Writing
• Questions for Film Analysis (Washington University)
• Resources on Film Analysis – Cinema Studies (University of Toronto)
• Does Film Analysis Take the Magic out of Movies?
• Film Analysis Research Papers – Academia.edu
• What’s In a Film Analysis Essay? Medium
• Analysis of Film – SAGE Research Methods
• Share to Facebook
• Share to LinkedIn
• Share to email

A critique paper is an academic writing genre that summarizes and gives a critical evaluation of a concept or work. Or, to put it simply, it is no more than a summary and a critical analysis of a specific issue. This type of writing aims to evaluate the impact of...

What is a creative essay, if not the way to express yourself? Crafting such a paper is a task that allows you to communicate your opinion and tell a story. However, even using your imagination to a great extent doesn’t free you from following academic writing rules. Don’t even get...

A compare and contrast essay — what is it? In this type of paper, you compare two different things or ideas, highlighting what is similar between the two, and you also contrast them, highlighting what is different. The two things might be events, people, books, points of view, lifestyles, or...

What is an expository essay? This type of writing aims to inform the reader about the subject clearly, concisely, and objectively. The keyword here is “inform”. You are not trying to persuade your reader to think a certain way or let your own opinions and emotions cloud your work. Just stick to the...

Have you ever tried to write a story analysis but ended up being completely confused and lost? Well, the task might be challenging if you don’t know the essential rules for literary analysis creation. But don’t get frustrated! We know how to write a short story analysis, and we are...

Have you ever tried to get somebody round to your way of thinking? Then you should know how daunting the task is. Still, if your persuasion is successful, the result is emotionally rewarding. A persuasive essay is a type of writing that uses facts and logic to argument and substantiate...

One of the most critical skills that students gain during their college years is assignment writing. Composing impressive essays and research papers can be quite challenging, especially for ESL students. Nonetheless, before learning the art of academic writing, you may make numerous common essay mistakes. Such involuntary errors appear in:...

You’re probably thinking: I’m no Mahatma Gandhi or Steve Jobs—what could I possibly write in my memoir? I don’t even know how to start an autobiography, let alone write the whole thing. But don’t worry: essay writing can be easy, and this autobiography example for students is here to show...

Some people know which profession to choose from childhood, while others decide much later in life. However, and whenever you come to it, you may have to elaborate on it in your personal statement or cover letter. This is widely known as “Why I Want to Be a Teacher” essay.

Assigned with an essay about friendship? Congrats! It’s one of the best tasks you could get. Digging through your memories and finding strong arguments for this paper can be an enjoyable experience. I bet you will cope with this task effortlessly as we can help you with the assignment. Just...

When you are assigned an autobiography to write, tens, and even hundreds of questions start buzzing in your head. How to write autobiography essay parts? What to include? How to make your autobiography writing flow? Don’t worry about all this and use the following three simple principles and 15 creative...

A life experience essay combines the elements of narration, description, and self-reflection. Such a paper has to focus on a single event that had a significant impact on a person’s worldview and values. Writing an essay about life experience prompts students to do the following: You may struggle with such...

Have you ever read a review and asked yourself how the critic arrived at a different interpretation for the film? You are sure that you saw the same movie, but you interpreted it differently. Most moviegoers go to the cinema for pleasure and entertainment. There’s a reason why blockbuster movies attract moviegoers – cinema is a form of escape, a way to momentarily walk away from life’s troubles.

EXCELENT COVERAGE!

Hi Rebecca,

Glad you liked the post. Sure thing, feel free to share the link with your audience!

All the best.

Vague Visages

Movies, tv & music • authentic indie film criticism • forming the future • est. 2014 • rt-approved 🍅, crime scene #19: ‘only the river flows’ – a detective goes around the bend.

Crime Scene is a monthly Vague Visages column about the relationship between crime cinema and movie locations. VV’s Only the River Flows  essay contains spoilers. Wei Shujun’s 2023 film features Yilong Zhu, Chloe Maayan and Tianlai Hou. Check out film essays, along with cast/character summaries , streaming guides and complete soundtrack song listings , at the home page.

In the first scene of Only the River Flows , a group of kids in cop uniforms play in an abandoned government building. As they run around, one of them opens a door which leads to a sheer drop into the rubble below: a section of the building has already been torn down, and the boy stands there staring at the abyss, with diggers below. Wei Shujun’s 2023 film follows detective Ma Zhe (Zhu Yilong) as he works a puzzling series of murders in rural China. The aforementioned child playing dress-up staring at empty space is an apt opening image for an ambiguous, shadow-drenched noir.

Another such startling image emerges early in the plot: the local movie theater has closed down, and the chief of police (Hou Tianlai) orders Ma to conduct his investigation from the empty auditorium. As cause-and-effect in the case spin out of control, so too does Ma’s grip on reality, with the movie theater functioning as the nexus of his nightmarish dreaming. The first murder involves that of an elderly lady found by the river bank, with suspicion quickly falling on her adopted son, labeled by authorities as “the madman” (Kang Chunlei). As more bodies appear, the police chief urges Ma to close the case, but the detective never seems fully convinced by the facts. As the protagonist loses himself in the details, he dredges up memories and pieces them together in incoherent ways, trying to find one narrative that fits. Nothing ever quite coheres — details forever washed away by the rain.

Only the River Flows Essay: Related — Know the Cast: ‘A Murder at the End of the World’

Only the River Flows is deliberately muddy, probably to the point of frustration for some viewers, but this total ambiguity is a boon. I first watched the film last year at a festival; during a recent rewatch, I became convinced that the movie has since been recut or even censored. The Chinese government requires pre-approved permits of all national films before they are screened publicly (even if said film is screening at international festivals), and it’s not uncommon that previously-approved productions have to come back for extra cuts. It would not be beyond possibility that such a film was struck by the censors.  

Only the River Flows Essay: Related — Soundtracks of Cinema: ‘Monkey Man’

But alas, my own memories are unreliable. I conflated a key plot point with Bong Joon-ho’s Memories of Murder , which I had re-watched not long after Only the River Flows (also for this column, incidentally). The similarities between the two films are many: aside from cases that drive the respective detectives crazy, both productions take place in the recent past in rainy areas of the rural Far East. Music provides a key clue in both procedurals, a developmentally-challenged local becomes a key suspect, local bureaucratic incompetency hampers both investigations… the list goes on. No wonder I transplanted memories of one film onto another and told myself my own story. It’s appropriate to Only the River Flows , which is about how narratives converge and muddle; when they don’t fit, they drive us crazy.

Only the River Flows Essay: Related — Know the Cast: ‘Longlegs’

These similarities go beyond just the obvious but are integral to the postmodern positioning of Only the River Flows . The film is, however, not a postmodernist work of winking irony and remixing, but a postmodernist production of sincerity and contemporaneity, one which looks to the past as a way of trying to understand the present.

Only the River Flows Essay: Related — Soundtracks of Cinema: ‘The Killer’

To that end, Only the River Flows and the investigation it centers on is drenched in analogue effects and ephemera. The movie was captured on 16mm by cinematographer Chengma Zhiyuan, apparently the first mainland Chinese film in years to be shot on film , and it looks astounding. The grain adds to the rainy, foggy feel of the central location, with a hazy and evocative use of color and gorgeous shadowing derived from a seemingly never-ending supply of low-hanging light fixtures and cigarettes. Few modern films have looked this beautiful and completely noir . In the plot itself, physical objects prove more useful to the investigation than the standard methods of police procedurals like interrogations and fingerprints. A cassette tape, a makeup bag, the amount of bullets left in a pistol magazine — these objects are crucial: they can be touched and felt. Ma intimately cradles each one at various points.

Only the River Flows Essay: Related — Know the Cast: ‘Le Samouraï’

And yet, the physicality of these objects, and their reality, never amounts to anything concrete as far as the murder investigation goes. They are, in the end, only objects, given meaning by the circumstantial context around them. The meaning of the cassette tape is based on its contents. The meaning of the makeup is based on the owner. The meaning of the gun is based on who fired it. One of the challenges the director faces is to ask what happens to the noir mystery once these links are severed. The answer is perhaps pure memory, pure conjecture, pure guesswork.

Only the River Flows Essay: Related — Soundtracks of Cinema: ‘Love Lies Bleeding’

Amidst all that is the presence of Only the River Flows’ central location — a nondescript, post-industrial town somewhere in rural China. The river is the region’s landmark, the site of the film’s murders. Is its presence there to wash away the sins? Only the River Flows hints at bureaucratic incompetency — again, my memory of my initial watch included more scenes about poor governance. Have I misremembered again? Ma’s boss is focused more on personal glory, judged by how many crimes his division solves, regardless of whether they solve them correctly, as well as his own table tennis prowess in the local leagues. “Stick to the facts!” the police chief says in a key scene as he admonishes Ma for a report where the detective points out that all he’s done is lay out the evidence as he sees it. In Only the River Flows , facts and evidence become fractured, washed away by the rain and a river.

Only the River Flows Essay: Related — Know the Cast: ‘True Detective’

Over and over again, Only the River Flows returns to the idea of the fallibility of truth, the fragmentary nature of evidence and our own ability to warp our own memories to suit our own narrative. Linked to incompetent state officials in an otherwise controlling, authoritarian state, the film transforms into a drama about who owns what stories, and from which grounds they do so. The tipping point for Ma’s state of mind emerges around the movie’s mid-point, as he falls asleep in an empty cinema (like so many of us) and dreams an entirely different conclusion to the case, driven by a projector that burns up. Like many great crime films, Only the River Flows makes full use of its setting, delivering a grimy and ugly story that suits its grimy and ugly central location. But it finds something else in the mud by the riverbanks too — a realization that these narratives of murder and misery very rarely lead anywhere for their protagonists, who become caught in fictions of both their and our making.

Fedor Tot ( @redrightman ) is a Yugoslav-born, Wales-raised freelance film critic and editor, specializing in the cinema of the ex-Yugoslav region. Beyond that, he also has an interest in film history, particularly in the way film as a business affects and decides the function of film as an art.

Only the River Flows Essay: Related — Soundtracks of Cinema: ‘Se7en’

Categories: 2020s , 2024 Film Essays , Crime , Crime Scene by Fedor Tot , Drama , Featured , Film , Movies , Mystery , Thriller

Tagged as: 2023 , 2023 Film , 2023 Movie , Chloe Maayan , Crime Movie , Drama Movie , Fedor Tot , Film Actors , Film Actresses , Film Critic , Film Criticism , Film Director , Film Essay , Film Explained , Film Journalism , Film Publication , Film Summary , He bian de cuo wu , Journalism , Movie Actors , Movie Actresses , Movie Critic , Movie Director , Movie Essay , Movie Explained , Movie Journalism , Movie Plot , Movie Publication , Movie Summary , Mystery Movie , Only the River Flows , Rotten Tomatoes , Streaming , Thriller Movie , Tianlai Hou , Wei Shujun , Yilong Zhu

You must be logged in to post a comment.

Step By Step Guide to Writing an Essay on Film

By Film Threat Staff | December 29, 2021

Writing an essay about a film sounds like a fun assignment to do. As part of the assignment, you get to watch the movie and write an analytical essay about your impressions. However, you will soon find that you’re staring at an empty sheet of paper or computer screen with no idea what to write, how to start writing your essay, or the essential points that need to be covered and analyzed. As an  essay writing service proves, watching the movie countless times isn’t all there is to write a film analysis essay. Here’s a step-by-step guide to help you with an essay service :

1. Watch the Movie

This is the obvious starting point, but surprisingly many students skip this step. It doesn’t matter if you’ve watched the movie twice before. If you’re asked to write an essay about it, you need to watch it again. Watching the film again allows you to pay more attention to specific elements to help you write an in-depth analysis about it.  

Watching the movie is crucial because it helps you not specific parts of the movie that can be used as illustrations and examples in your essay. You’re also going to explore and analyze the movie theme within your structured plan. Some of the critical elements that you have to look out for while watching the movie that may be crucial for your essay are:

• Key plot moments
• Editing style
• Stylistic elements
• Scenario execution
• Musical elements

2. Introduction

Your introduction will contain essential information about the film, such as the title, release date, director’s name, etc. This familiarizes the reader with the movie’s primary background information. In addition, researching the filmmaker may be crucial for your essay because it may help you discover valuable insights for your film analysis.

The introduction should also mention the movie’s central theme and explain why you think it was made that way.

Do not forget to include your thesis statement, which explains your focus on the movie.

3. Write a Summary

According to an  essay writing service  providing students   help with essays , a movie summary comes after the introduction. It includes the film’s basic premise, but it doesn’t have to reveal too many details about the film. It’s a summary, after all. Write the summary like your readers have not heard about the movie before, so you can mention the most basic plots but assume you have minimal time so you won’t be going into great details.

4. Write Your Analysis

This is the central part of the essay in which you analyze the movie critically and state your impressions about the film. Ensure to support your claims with relevant materials from the movie.

There are also several creative elements in a movie that are connected to make the film a whole. You must pay attention to these elements while watching the movie and analyze them in this part of the essay.

In this, you are looking out for the dialogs, character development, completion of scenes, and logical event sequences in the film to analyze.

Ensure you try to understand the logic behind events in the film and the actor’s motives to explain the scenario better.

The responsibility of different parts of the movie, such as plan selection and scenario execution, falls on the director. So, your analysis here focuses on how the director realized the script compared to his other movies. Understanding the director’s style of directing may be crucial to coming up with a conclusion relevant to your analysis and thesis.

The casting of a film is a significant element to consider in your essay. Without a great actor, the scriptwriter and director can’t bring their ideas to life. So, watch the actor’s acting and determine if they portrayed the character effectively and if their acting aligns with the film’s main idea.

• Musical element

A movie’s musical element enhances some of the sceneries or actions in the film and sets the mood. It has a massive impact on the movie, so it’s an essential element to analyze in your essay.

• Visual elements

This includes special effects, make-up, costumes, etc., which significantly impact the film. These elements must reflect the film’s atmosphere. It is even more crucial for historical movies since it has to be specific about an era.

Ensure to analyze elements relevant to your thesis statement, so you don’t drift from your main point.

5. Conclusion

In concluding your essay, you have to summarize the primary concepts more convincingly to support your analysis. Finally, you may include a CTA for readers to watch or avoid the movie.

These are the crucial steps to take when writing an essay about a film . Knowing this beforehand prevents you from struggling to start writing after watching the movie.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

… [Trackback]

[…] Find More Info here to that Topic: filmthreat.com/features/step-by-step-guide-to-writing-an-essay-on-film/ […]

[…] Read More: filmthreat.com/features/step-by-step-guide-to-writing-an-essay-on-film/ […]

It’s really amazing instructions! I have got the great knowledge.

[…] now and then. Unfortunately, not all of us can afford to get cinema tickets to do so.  Some…Writing an essay about a film sounds like a fun assignment to do. As part of the assignment, you get…Since a few decades the film and entertainment sector have undergone some drastic transformation. […]

I can’t list the number of essays that don’t follow this format in the least. But then I find most reviews of movies terrible and most people who purport themselves to be writers as people who need to spend more time drafting and editing before publishing.

Thanks for this

Is Movie Streaming the Next Step for NFT?

Since a few decades the film and entertainment sector have undergone some drastic transformation. The first ever format to bring movies in the household...

How To Get A New Netflix Series On Your Subscription?

There are also some problems in getting new Netflix series on your subscription because of geo-restriction. If you are not in the USA then you still can't...

Amazing CBD Movies And TV Shows To Enjoy On Weekends 

Most avid consumers of CBD attribute their love for it to cinemas and movies. The media always adds a touch of pizzazz to all that has to do with various...

8 Steps to Enjoy a Boring Movie

Sometimes, movies can be boring. Maybe your spouse dragged you to the theatres to watch a romantic comedy that made you fall asleep? Or maybe you went on a...

What Can We Learn from Netflix’s All-Time Top 10 movies?

Our excitement for the weekend never fades, and we begin making plans from the weekdays. Weekdays are too busy to relax and watch Netflix, so the weekends...

Where to Get Your Fill of Fantasy

Reality can be incredible, but nothing beats the feeling of stepping into a new world filled with magic, mystery, and excitement. We all need a break from...

Join our Film Threat Newsletter

Film Analysis

What this handout is about.

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film—the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it’s important to watch the film carefully with a critical eye. Consider why you’ve been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let’s practice with this clip from Alfred Hitchcock’s Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

• Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.
• Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?
• Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center’s handout on watching film analytically . For more resources on researching film, including glossaries of film terms, see UNC Library’s research guide on film & cinema .

Brainstorming ideas

Once you’ve watched the film twice, it’s time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you’re writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement . Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

• Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.
• In most cases, the director’s name is used to talk about the film as a whole, for instance, “Alfred Hitchcock’s Vertigo .” However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.
• When describing a sequence in a film, use the literary present. An example could be, “In Vertigo , Hitchcock employs techniques of observation to dramatize the act of detection.”
• Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo , but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on “using evidence” in our evidence handout .

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

• What objects or images are repeated throughout the film?
• How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?
• How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film’s signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question “So what?” in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine’s character arc.

To create this type of analysis, you could consider questions like:

• How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?
• What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?
• Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film’s relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

• How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?
• How might a biographical understanding of the film’s creators and their historical moment affect the way you view the film?
• How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film’s context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo , a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart’s character.

To conduct this type of analysis, you could ask:

• What effects are created in a scene, and what is their purpose?
• How does this scene represent the theme of the movie?
• How does a scene work to express a broader point to the film’s plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it’s helpful to get feedback on what you’ve written to see if your analysis holds together and you’ve conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L’analyse Des Films . Paris: Nathan.

Media & Design Center. n.d. “Film and Cinema Research.” UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch .

Oxford Royale Academy. n.d. “7 Ways to Watch Film.” Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

Directors on Directors: Filmmakers Analyze 2020 Favorites

By William Earl

William Earl

• Warner Bros. Television Group Chairman and CEO Channing Dungey and DC Studios Co-CEO Peter Safran to Keynote Variety Entertainment & Technology Summit 1 week ago
• Toronto International Film Festival Hosts AI on the Lot Pop-Up Event 1 week ago
• ‘Joker: Folie à Deux’ Cinematographer Lawrence Sher to Keynote SMPTE Media Technology Summit 2 weeks ago

Borat Subsequent Moviefilm

Directed by Jason Woliner Essay by Adam McKay

How do you make a movie about the times we’re currently living through? Do you simply turn the camera on and document the careening disintegration? Or use story as a metaphor? Or maybe comedy can work as a release for dark and ludicrous truths?

One director this year did all of the above. Jason Woliner’s “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan” is a docu-comedia dell’arte-father-daughter quest film.

And in many cases the movie was filmed during a pandemic and features actual radical white nationalists as unwitting main characters. To top it all off it contains a few of the more touching scenes of the year, including one featuring a sweet woman in a temple who shows a wildly anti-Semitic Borat unwavering compassion and love.

Very few directors could drive this flaming Ralph Steadman monster truck of a movie as deftly as Jason Woliner. For a long time in the comedy world he’s been known as one of the more skilled absurdist directors.

Finally the world exploded, and when the smoldering debris, confetti and rats came raining down Woliner knew exactly how to film it.

Oscar-nominated for directing “The Big Short,” McKay’s other works include “Don’t Look Up,” “Step Brothers” and the series “Succession.”

Promising Young Woman

“For your film, I felt the tone so consistently, and you took so many bold choices with the tone as well. Without giving anything away, it was miraculous that in 2020 you were able to have a twist — several, but one truly shocking twist — but your tone remains so consistent as you make these really bold choices, and that’s so fucking hard to do. I was amazed by that … I think that the best films are often Trojan horse films, that if you can lure someone in with the promise of entertainment and then leave them feeling something, you’ve done something valuable. Your film did that so beautifully, because the film itself is like its lead character: it lures you in with the promise of beauty and sexuality, and it’s so enticing and sparkly. And then it wakes up and says: ‘Hang on, I’m actually very sober and I’m going to tell you a fucking story.’ I love that about it.”

— Olivia Wilde on “Promising Young Woman,” directed by Emerald Fennell, watch the full conversation here

Directed by Florian Zeller Essay by Kenneth Branagh

Florian Zeller makes a mesmeric directorial debut with “The Father.” As anyone who saw his play from which it is evolved can testify, there was already a powerful theatrical experience at work. How to make such theatrical brilliance cinematic? Firstly, he trusts his story. Its immediacy, its humanity and the raw recognition it offers to so many audiences.

And then, he trusts his characters. He has two acting titans at the center of the film, and as a director, he clears the way for them to do their work. His visual style is spare, measured, elegant. It allows performance to be seen sharply at the center — intimate, darkly funny, ragged and deep. Zeller has a surgeon’s touch. He is delicate and precise with his cutting style, and yet it is never soulless.

It is however forensic. He invites the viewer into a cinematic puzzle, where the question of what is real, and what is not real is all-pervasive. But in his clear and uncluttered frame he also manages to induce the slow mounting panic of a story that just will not be what it appears to be. The surface of the movie is all calm and clarity, and the underneath is all mounting dread and terror. This is a discordant chamber music of the soul, and it is conducted by Zeller with exquisite tenderness and pain.

As Zeller the director, he has the smart and humble idea to get out of the way of Zeller the writer’s brilliant idea. In so doing he lets something ancient emerge from the drama. A Greek tragedy in a London apartment. Hopkins and Colman are magnificent, and their director has paid them the honor of leaving much to them. Their performances return the favor with soulful largesse. The result is an emotional thriller that wrangles with the mind, and fairly breaks the heart. Zeller the director has arrived — in triumph.

An Emmy-winning and multiple Oscar-nominated director and actor, Branagh’s films include “Hamlet,” “Thor” and “Murder on the Orient Express.”

Directed by Kelly Reichardt Essay by Olivier Assayas

The films of Kelly Reichardt are a blessing. They have illuminated by their beauty, their heartfelt simplicity, and their depth, the world of independent filmmaking. I have always been deeply admiring of how, with patience and quiet authority, she has followed the unique path of her inspiration.

Ultimately she is about everything contemporary cinema seems to have rejected, or neglected, or despised; peace, grace, the frailty of human emotions you can only capture with the most delicate and the most nuanced touch, attention to the eternal beauties of creation.

She’s been making her films off the track, actually off any track, trusting her vision, doing it on her own terms without ever compromising with an industry that has swallowed up so many gifted filmmakers. Without one false note she has created a remarkable, unique body of work that is entirely hers, in both its diversity and its impressive coherence. Very few have accomplished that.

“First Cow” is a major addition. A modern film, but standing outside of time. An abstract, radical film, as demanding, as daring as anything she’s done, but also clear, simple, imbued with universal values of friendship and survival, capturing both the landscapes of the American heartland, and its very soul. No surprise, she’s already done it, but what higher goal than using your art and all your skills at connecting the present and the past, wilderness and civilization, reminding us where we come from and how the thread has never been broken.

The generous, human, often heartbreaking art of Kelly Reichardt, the clarity of her vision, feels all the more urgent in the dark, confusing world we nowadays live in. She genuinely is a treasure of international cinema and we should be grateful to her.

Assayas’ films include “Irma Vep,” “Summer Hours,” “Carlos” and “Personal Shopper.”

Da 5 Bloods

“I love the film – it’s such a crazy film, it’s so you. It makes me look at all your work, and see how fucking crazy you are, and I love it. You take big chances all the way down the line. You’ve established a way of filmmaking that is very rare – you don’t see it often, but it’s very specific to you. I’ve seen it twice now. It’s a love poem to Black Vietnam soldiers, exclusively about that experience…and it hangs together in the sense of its poetry. And your style keeps changing all the time: I sat through that movie and I had no idea what the fuck would happen next. You keep me off-balance, nothing clichéd, nothing predictable.

— Oliver Stone on ‘Da 5 Bloods,’ directed by Spike Lee watch the full conversation between the two directors here for Variety’s “Directors on Directors” series. 

Directed by Deepa Mehta Essay by Atom Egoyan

The first twelve minutes of Deepa Mehta’s new film, “Funny Boy,” capture the spirit of childhood quite unlike anything I have seen. We see the exuberance and playful energy of a group of children running along a beach chasing a train, performing a mock wedding, having a fight, and playing a doomed cricket game. The camera swoons in and out of trees, doors, and windows. Through the gardens and rooms of a beautiful house, we’re introduced to a host of characters that will reverberate through this luscious story about the roots of difference, identity, tolerance and love.

In one of my favorite scenes, we’re in a room with young Arjie and his very cool aunt. To the strains of Leonard Cohen singing “Famous Blue Raincoat” on a cassette machine, she dons her nephew, who was dressed as a bride in the children’s mock wedding and is drawn to wearing lipstick, with a fabulous red feather boa. Young Arjie rushes to a mirror to look at himself. It is the first time anyone has ever given him permission to be who he is. The aunt asks if he wants her to put make-up on his face. Arjie is unsure how to respond. She asks, “Is it wrong for a boy to do it?” Arjie hesitates, and then nods. “Why?” Aunt Radha asks, “Are you hurting anybody?” Aria shakes his head.

“Will it make you happy? “Aunt Radha asks twice, granting the boy entrance to world of acceptance and liberation. She then paints his toenails, and we are briefly transported to an image of adult Arjie, painting the toenails of his male lover many years later. He has remembered this moment with his aunt all his life. This was his portal to a world of self-acceptance and spiritual and sexual integrity. Still, the aunt says it must be his “joyful secret.” This story is taking place in Sri Lanka, after all. A country where homosexuality is still banned and considered to be a criminal offence, punishable by ten to twenty years in prison.

Deepa Mehta is a rare filmmaker, equally comfortable in very different worlds and completely fluid in transmitting these wildly different sensibilities of East and West with unerring confidence and skill. With “Funny Boy,” she has explored a world within a world, setting this story of forbidden love within the explosively violent history between Christian Tamils and Buddhist Sinhalese. It’s a Sri Lankan Romeo and Juliet story told with passion, insight and a deep sense of humanity. While it’s culturally specific, its underlying theme and message of hope is universal. “Funny Boy” is beautifully cast, performed with absolute conviction and shot with astonishing sensitivity and compassion. It’s about the best of times and the worst of times; seasons of darkness and seasons of light.

Egoyan was Oscar nominated for best director for “The Sweet Hereafter.” His other films include “Exotica” and “Remember.”

Judas and the Black Messiah

Directed by Shaka King Essay by Matthew A. Cherry

The most important art has something to say, and Shaka King speaks with the confidence of filmmakers twice his age. Shaka never shies away from the tough conversations in “​Judas and the Black Messiah​,” and he leaves the audience with a well-rounded and complex depiction of Fred Hampton and the Black Panther Party. ​The entire ensemble shines under Shaka’s confident direction, especially Daniel Kaluuya, LaKeith Stanfield and Dominique Fishback; no part proves to be too small.

Upon the announcement and first description of​ Judas and the Black Messiah​ I, like many others, wondered why Shaka would take the approach of intertwining both Fred Hampton and FBI informant William O’Neal’s stories as opposed to just focusing on Hampton. As I continued to watch, it became clear that it was to show that you’re still choosing a side even when you choose to sit on the sidelines to avoid taking a political stance. We see how straddling the fence leads to O’Neal’s eventual corruption. We also see how his capitalist approach to changing his financial circumstances by any means necessary left him not only morally bankrupt, but also led to his own demise and robbed the world of a great young Black leader with a powerful voice on the verge of uniting Chicago during a tumultuous time.

“Judas and the Black Messiah​” is a technical achievement that isn’t afraid to ask the hard questions and one can only hope that America is finally up to the task of answering them.

Director of features “9 Rides” and “The Last Fall,” Cherry won the short film Oscar last year for “Hair Love.”

King of Staten Island

“This is your latest, greatest movie in a long line of great movies, and it has another young, almost undiscovered talent that you again were way ahead in recognizing. It’s great that you have an actor in Pete [Davidson] who was comfortable and capable of showing vulnerability, and also knowing that that was a nice pathway to comedy as well. That’s something you’ve always been such a sniper with. You can find the humor in some of the broadest storylines, situations, characters, but also in the most human and raw and vulnerable characters and situations.”

— Jason Bateman on “King of Staten Island,” directed by Judd Apatow

(Check back soon to watch the full video conversation between Jason Bateman and Judd Apatow.)

Directed by Robin Wright Essay by Julian Schnabel

Why do people make films? What is the need? What is the goal? To communicate what? One of the most difficult things to film is two people in a room, for it to ring true where actors are not acting they are being and maybe what’s even more demanding is to film one actor doing and being. Even more so when that actor is the director. The need to express the deep sense of loss, the inexplicable confrontation with death that we will all face, is the essence of being alive, to try to comprehend the never ending question of why?

This film is a deep dive into that question and the determination of an artist, and whoever will go with them on this path to realize a truth that can be a tool to face this thing that we will all face. Through the mining of these impulses and the use of the tools of the actor-director’s body of talent, and deep commitment, we can channel her determination and be transformed, coming to value the essence of what we are. The air, the breath, the trees and the landscape, humans like leaves blown together touching each other for a divine moment of inexplicable clarity.

Thank you, Robin Wright and Demián Bichir, for all the precision and insistence to find that high pitched inexpressible note that rarely is achieved in film. It is the ultimate topic and certainly not the easiest to present. Years of tracing the depths of feeling loss, sincerity, friendship, family, and just looking have not been wasted on this director and actor. It is my privilege and honor to know Robin and have seen how rigorous she has been in the different stages of editing the film to keep it so close to the bone and at the same time so free of spirit. Hard thing to do.

Schnabel is the Oscar-nominated director of “The Diving Bell and the Butterfly,” as well as “Before Night Falls” and “At Eternity’s Gate.”

The Little Things

Directed by John Lee Hancock Essay by Scott Frank

I remember the night, nearly thirty years ago, when I met John Lee Hancock. It was at a dinner somewhere up in the Hollywood Hills. There was this tall, handsome Texan holding the table in thrall with tales of his time spent with a particularly legendary homicide investigator in the L.A. Sherriff’s Department. John talked about the detective calling him up in the middle of the night and asking him if he had a sport coat. John was to put it on and meet him at a fresh crime scene. No idiot, John showed up, where hunched over the dead body, the detective said, for that night, John was one of them. He was to keep his mouth shut and learn. Certainly not your normal dinner table conversation, but by that point, who cared about dinner? We all sat in silent grip as John told one story after another. Any one of them could have been a movie. All of them expertly spun by this guy I’d just met for a few minutes before.

Naturally, I hated him instantly. I wanted to be him. He made storytelling look so easy. Just as he does when you read any of his scripts or watch any of his films. You succumb to the story. Instantly. John’s knack for both widescreen composition and realistic dialogue make “The Little Things” a lot more than a mere crime film. John’s love for the “True Story” along with his eye for detail and sense of place render all of his work authentic and somehow larger than life at the same time.  And of course, the actors lucky enough to work with him have been known to win an award or two.

John was in the middle of writing “The Little Things” that night we met. It was a good story then, and it’s a terrific film now. That’s the thing about great yarns. They don’t get old. Even close to thirty years later, they remain rock solid and ever meaningful. Just like a great friendship.

A two-time Oscar-nominated screenwriter, Frank’s directorial efforts include “A Walk Among the Tombstones” and the series “The Queen’s Gambit.”

“The movie has both a deep and profound affection for filmmaking as an art, and also a very acute awareness of the absurdity of the whole process and the whole enterprise. I found in it an extremely astute observation of that sort of paradox: how you can feel totally ridiculous doing it, and yet somehow in it there is an art. Because you’re very smart, and because you’re sort of half-artist and half-engineer, I find you a sort of surgical filmmaker in your deliberate specificity. But this movie had such an enormous amount of affection and – dare I say – heart and appreciation of the humanity of the artist. … I think it’s a masterpiece, it’s my favorite of yours, and you know I love almost all your movies.”

— Ben Affleck on “Mank,” directed by David Fincher, w atch the full conversation here for Variety’s “Directors on Directors.”

Ma Rainey's Black Bottom

Directed by George C. Wolfe Essay by Don Cheadle

To make a good gumbo you need a good roux, and “Ma Rainey’s Black Bottom” has as its rich and flavorful base the brilliant play by August Wilson, fashioned into a dynamic screenplay by Ruben Santiago-Hudson. Maestro director George C. Wolfe masterfully brings it all to cinematic life with a control evident from the first four minutes, as the movie unfurls sans dialogue in the wooded darkness of Georgia circa 1927. The terrifyingly familiar sight of young black men running for their lives soon yields relief as Mr. Wolfe’s bait and switch delightfully transports us into the joy of a transformative performance by Viola Davis as Ma. Mr Wolfe’s use of close-ups and masters, both stillness and movement working in counterpoint, seamlessly weaves into the soulful blues washing over us. He centers the audience squarely in that tent, that time and place. You can almost smell it.

Mr. Wolfe takes what in other hands might have been a piece reverentially focused on words and ideas, and opens the experience all the way up, exploring and exploding it, playing deftly with kinetic, Steadicam flow to capture the energy of Ma’s anxious band as they joust and needle. But then he settles down and settles in close when necessary — to educe the grave pain in Levee’s (Chadwick Boseman) eyes, or Toledo’s (Glynn Turman) somber soliloquy on “leftovers,” or Ma plopped squarely in a chair with one ear cocked to the side because “It sure done got quiet in here.” Periodically, he takes us beyond the literal narrative to refer to and reflect on Wilson’s characters and story with laconic, beautiful, interstitial shots of black men and women staring right at us, as if painted by Diego Velázquez, a challenge to never forget the people who shared in these struggles. Finally, Mr. Wolfe closes his exquisite circle, with Ma departing both triumphant and bested, the band irrevocably devastated, our blues woefully assimilated and all of us trying to catch our collective breath.

An Oscar- and Emmy-nominated actor, Cheadle directed the film “Miles Ahead.”

Directed by Lee Isaac Chung Essay by Bong Joon-ho

­­ I think it takes a lot of courage to shoot a film about yourself or your family, since it’s autobiographical. But what I appreciated more about this film is that it doesn’t wallow in nostalgia. It’s a story about [Chung], but there’s a sense of distance too. So rather than it being about the history and story of a Korean immigrant family, the film can appeal to families all over the world or anyone who still carries the memories of their parents. Similar to Alfonso Cuaron’s “Roma,” the little boy in this film is essentially you, but the film isn’t told from the boy’s perspective. It follows the perspective of multiple characters and it doesn’t feature any voiceovers or narration. I think that level of distance makes the film more beautiful and universal. The film is neither too cold nor too warm while carrying a lot of love. That’s not an easy feat. It really surprised me .

Bong won the best director Oscar for “Parasite.” His other films include “Mother,” “The Host” and “Okja.”

Never Rarely Sometimes Always

Directed by Eliza Hittman Essay by Debra Granik

This is precision filmmaking, non-judgmental, quiet and methodical, each minute fully loaded. I felt like the film was doing the impossible, taking me on this young woman’s difficult journey with no sensationalizing and no compromises. It was like seeing someone quietly take the political gun aimed at reproductive rights, put it down, take out the bullets, and place it on the table for us all to see. Eliza Hittman has chosen her film language carefully in order to reinstate the humanity in this life passage, to take out the fear of physical danger, of botched, back-alley disaster. At the same time, the emotional weight that these two young women bear together is not minimized. The film brings us along with them to show this procedure as safe, clean, kindly administered by experts, sane, recoverable, even necessary. This is a rebellious film; with no overt protest. It simply will not participate in the tedious discourse of the last decades. It has moved on!

Hittman incrementally reveals how the choices Autumn makes are logical and imperative, so that the forces who want to get in her way seem irrelevant, almost absurd. Within the confines of this moment in this teen’s life, the sting of wrenching pain, regret, and sorrow is not fetishized. Unlike so many films that deal with an unplanned or undesired pregnancy, her suffering from a bad relationship or social constructs of guilt are not the moral basis used to justify her actions. This is a fresh perspective, one that opens a space for positive normalizing of this inflamed issue.

The interview scene at the clinic is austere screenplay poetry. The eponymous words “Never Rarely Sometimes Always” become an elegy to the raw edge of honesty and moving on. The repetition of the questions and the depth of the humane assistance in the voice of the reproductive rights guardian is an indelible moment of contemporary film. This is what caritas sounds like: exquisite, precise, searing.  We needed this film this year, and we’ll need it going forward. This depiction of a teen woman’s journey confronts and deconstructs the malignant imagery that has been churned out for as long as there were no women to make films like this one.

Given the backsliding and insidious bloviating of 2020, the impact of the quiet of this film was stunning. For everything Autumn doesn’t say, we fill in the space of contemplation – we feel, we weigh, we deliberate, we identify. The filming is intimate and tight in the framing of the shots, of time, of place, so tight that it graphically excludes the amplified chatter of other people’s judgments. In the year of the loss and replacement of RBG, the film replied with charged audacity by following these two teen women who do not consent to the turmoil that is heaped on women’s bodily freedom. There is suspense in how they manage to defy the exhausted and limp male domination by court and pulpit and legislature. They avoid ensnarement of misinformation and manipulation from a clinic run by the religious right. This film is a vibrant counter-narrative in which young women navigate to safe harbor despite the obstacles that many still want to place in their paths.

An Oscar-nominated director and screenwriter, Granik’s films include “Winter’s Bone,” “Stray Dog” and “Leave No Trace.”

News of the World

Directed by Paul Greengrass Essay by Richard Curtis

Writing about “News of the World,” I almost feel I’m writing about two films. I’ve seen it twice – and the obvious bit is that it’s a great movie and a great Western. It looks exquisite and the soundtrack by James Newton Howard is haunting and deep. It features two blazing central performances – one by Tom Hanks, who’s been acting for a thousand years, deep and sad and humane – and the other by Helena Zengel, who’s 12 and just as good as Hanks. It’s a strong story – and the action sequences are all you’d hope for from the director of my favorite Bourne films. It starts brilliantly and ends exquisitely – with a human smile that’s as powerful as a big bomb. It’s a love story about family love between two people who have both lost their families.

But then there’s the other film inside – the film about now. I’m often skeptical about the idea that the best way to talk about the present is to make a film about the past. But in this film, Paul has addressed the question of how to move from the pain of the Trump years. The American Dream is tough to turn into reality – it takes determination, it’s full of sorrow, it’s the responsibility of every person and it’s always going to be hard. And telling the truth is risky – and love in action is complex. This is a road movie about the road ahead for every American, and it shows how it can be done. God bless America.

An Oscar nominee for best screenplay, Curtis’ films as a director include “Love Actually,” “About Time” and “Yesterday.”

On the Rocks

Directed by Sofia Coppola Essay by Jane Campion

I get excited when directors give me an experience I haven’t had before, this is what I love, and I’ve come to learn it’s rare.

The first film I saw of Sofia’s was “The Virgin Suicides.” Its dreamy gentleness and girl-centric beauty created an allure in shocking contrast to the heartrending adolescent sisters’ deaths.

Sofia’s voice was particular from her first film—soft, feminine, intelligent, with an almost uncanny knowledge of how her voice can be used to powerful and sharp effect. On the way, she completely upends and opposes male-centric shooting convention, a lexicon primed for aggression, punchiness and impact.

The genre of rom-com is new to Sofia and she adapts it to her personal style like she might a shirt, buttoned up and worn loose. “On The Rocks” introduces lead Rashida Jones as Laura, a smart, vulnerable, loving and confronting the possibility of her husband Dean’s infidelity. The story is set in an affluent New York where Sofia’s distinct sense of detail creates a flavorsome evocation of place.

For all the good-natured father and daughter “detectoring” and light-hearted mood, there is an unspoken barb. It seems that Laura and her father Felix’s suspicion of Dean is unfounded, but as they deflate one suspicion after another, it equally raises the sense, at least in this viewer, that while Dean is innocent this time, the prospect of a guilty outcome seems unavoidable in the future. So, clever Sofia both clears him and smears him.

The heart of this story’s romance is Laura and Dean, but the real partnership, fun, tussles and honesty is between the father and daughter detective team. Felix coaches Laura to be tougher and sharper about her faithless husband, and the inevitable Darwinistic, self-serving seed-spraying she should learn to expect of all human male primates. Father and daughter are an endearing study in opposites. Felix, Bill Murray, is an unconstructed, well-dressed and coiffed tomcat of a certain generation and superficiality, while Laura is suffering real anxiety and heartache, unsure if her marriage is, well, on the rocks. The two spat, and comment on each other in a way that Laura and her husband dare not do. Felix has escaped unscathed and untouched by his brush with life, and this is what he wants for Laura, but she has different instincts. She will put her heart on the line, hoping for better but knowing the truth—love is both glorious and cruel.

The exceptional Sofia has kicked about a rom-com and calmly, quietly, weaponized it. I love this clever, entertaining film that carries its seriousness so lightly it’s hard to see.

An Oscar-winning screenwriter and the only woman to win the Palme d’Or at Cannes, Campion’s works include “The Piano,” “Bright Star,” “The Power of the Dog” and the miniseries “Top of the Lake.”

One Night in Miami

“I’m such a huge fan, all the way back to ‘227’ and ‘Poetic Justice’ and ‘Boyz n the Hood,’ and all those amazing films we grew up with, and seeing your progression as an actress into ‘Watchmen’ and ‘If Beale Street Could Talk’ … it was really inspiring to see someone I respect so much as an actress come in and really take command of a set and be able to talk to actors in a way I could only dream of, and really have a strong visual language. And nowto see you with your first feature film, ‘One Night in Miami,’ about these incredible historical icons. Obviously there was such a responsibility when you’re dealing with speaking about Malcolm X and Sam Cooke and Muhammad Ali and Jim Brown. I’m imagining trying to do a story on just one of those incredible icons, Black men, much less to have all four of them and bring a view into such an intimate conversation.”

— Melina Matsoukas on “One Night in Miami,” directed by Regina King watch the entire conversation on Variety’s “Directors on Directors” series

Palm Springs

Directed by Max Barbakow Essay by Phil Lord 

Max Barbakow couldn’t have known that his movie “Palm Springs” would become the movie of my quarantine. But he knows that everyone feels stuck in one way or another. And he knows that no one wants to be stuck for eternity with a sourpuss. From the jump, he imbues his film with something his characters find so fleeting… joy. We have spent all year staring out of windows, and from behind masks and shields. The delights of this movie (the wonderful Andy Samberg doing a sarcastic cha cha; Cristin Milioti returning the favor; and on and on) echo the delights that have made this year worth living. If we can’t go out dancing, we’ll dance at home. If we can’t have our freedom, we might as well have fun.

Fun is an underrated value in movies. Someone I used to admire told me they had never loved a drama that didn’t make them laugh. (Someone I still admire greatly told me she never loved a comedy that didn’t make her cry.) I had the (who knew?) fleeting pleasure of watching Palm Springs with an audience and we laughed at the jokes and despaired with the characters and got all the big ideas. That’s no small feat. This movie about theoretical physics is clear and makes sense and even when I don’t know what’s happening, I know that clearly someone does, and they’re going to let me in on it soon enough. Barbakow juggles tones without ever sacrificing our engagement or dulling our surprise. His film uses fun as a cinematic tool to describe some really un-fun things. He finds angles, photographic and otherwise, that make us look at the same thing in a new way and oh by the way the performances are wonderful and heartbreaking and it’s fucking funny. That’s a Triple Lindy degree of directorial difficulty even the deftest filmmakers might fumble. That we’re in the hands of a first-timer makes Palm Springs nothing less than a triumphant debut.

If we worry all this fun makes a movie any less worthy, I like to remember that “It Happened One Night” (five Oscars) is pretty darn fun. “Palm Springs” is a movie that happens all in one night except that night happens again and again. Just like all the nights this year spent curled up looking to our screens for a few hours of vacation from all this 2020-ness. The answer offered here is that the only escape is the choice we make about how we want to live, day to day, moment to moment. And I choose fun. So does Max. His wry voice behind the camera, a character akin to those in front of it, lets you know, I feel all this too. I’ve been there. I want to show you the way out, if I can still find it.

Lord directed the films “The Lego Movie,” “21 Jump Street” and “22 Jump Street” alongside Christopher Miller. He won an Oscar as an executive producer of “Spider-Man: Into the Spider-Verse.”

Directed by Fisher Stevens Essay by Edward Norton

There’s an old adage among film directors that animals, kids and shooting on water are the quickest ways to derail a smooth film production. Digital effects have made animals and water a lot easier to wrangle. But anchoring a film on the bet that you can pull a deeply affecting performance from a child is still truly an act of bravura and daring by a director. Basically it’s like hitting a major league curve ball.

Fisher Stevens takes that swing in his film “Palmer” and absolutely crushes it out of the park for an emotional home run. With young Ryder Allen as his muse, Fisher sculpts the character of a boy named Sam with such nuance and tenderness that the transformative emotional effect he has on the other characters in the film isn’t just believable, we feel it ourselves, profoundly. The film is titled for the character Palmer (played with beautiful restraint and pathos by Justin Timberlake) and that’s appropriate…because I think Palmer is meant to be all of us, caught up in his own problems and only slowly coming to grasp that caring for someone else and standing up for their uniqueness is the key to opening up his own life, elevating him and giving him purpose.  Stevens gets terrific, complex, humanity out of all his excellent cast and makes the artistic assertion that people struggling to redeem and ennoble their lives is, by itself and without frills, great storytelling.

It’s the kind of directorial work that Bruce Beresford did in one of my all-time favorites, “Tender Mercies,” which “Palmer” brought back to mind.  And if we’ve ever needed a reminder that simply caring for each other is heroic, we need it, and films like this one, now.

A three-time Oscar nominee for acting, Norton’s films as a director include “Keeping the Faith” and “Motherless Brooklyn.”

Directed by Pete Docter Essay by Frank Oz

I love this movie. It’s a great movie. Not a great animated movie. A great movie. It’s warm and abstract, it’s funny and tender, it’s raucous and sublime, it’s accessible and challenging, and it’s stunningly beautiful. I mean really stunningly beautiful. What is it about Pete Docter’s movies that always hit home? I believe they come from a true place inside him. And that true place connects with our true places inside us. This time, with amazing music and a large idea that lingers in us long after the movie has ended, Pete and his brilliant Pixar artists, have done it again with “Soul.”

Did I tell you that I love this movie?

Oz directed such films as “The Dark Crystal,” “Muppets Take Manhattan,” “What About Bob?” and “Bowfinger.”

Sound of Metal

Directed by Darius Marder Essay by Scott Cooper

As we know, there was a time (well before streaming) when films were completely silent. Filmmakers then discovered sound as a powerful storytelling tool to help immerse the audience in their stories and bring them to life in rich and vivid detail. The first widespread success of sound movies occurred in 1927, with the release of Warner Bros.’ “The Jazz Singer,” an 89-minute long musical that featured synchronized dialogue and music. Filmgoing audiences never looked back.

When used remarkably well, and in innovative ways, the power of sound can shape the emotion of the viewer more strongly, even, than dialogue or images. That’s precisely what happened for me in Darius Marder’s mesmerizing “Sound of Metal,” a film of intensity, subtlety, and grace. At the center of “Metal” is an unforgettable turn by a remarkable actor — Riz Ahmed — as a punk metal drummer who suddenly discovers he’s losing his hearing. As a musician, Ahmed’s “Ruben” is not only at risk of losing his hearing, but his identity. Ruben’s devotion to his craft has kept his addiction and self-destruction at bay; now his world deteriorates before our eyes and ears.

From the opening moments, Marder thrusts us into Ruben’s world, in an explosion of sound and images — a deeply committed drummer unleashing a furious barrage at full tilt. Along with his sound designer, Nicolas Becker, Marder constructs a rich, nuanced, and extremely complex soundscape, allowing the viewer to burrow deeply into Ruben’s state of mind in a manner not experienced in a film in recent memory.

Creating a soundscape for a film about a drummer losing his hearing is no simple feat. Rather than relying on a sound library, the filmmakers captured low-frequency vibrations and other very specific tones (perfectly adjusted to different moments in Ruben’s life) using the human body to generate the aural world Ruben experiences. From Ruben’s breathing, to his voice (and others’), and to his physical movements, the audience experiences Ruben’s deterioration in a remarkably intimate and heartbreaking manner. This is in full effect when Ruben, just before a show, is setting up a merchandise table when the sounds he’s experienced all of his life quickly dim — changing to muffled voices backed by a high-pitch ringing. The moment is stark and grim, but leads to an altered life for Ruben, changing how he sees (and hears) the world around him.

But it’s this depiction of loss of sound, and the portrayal of deaf culture, where “Sound of Metal” departs from most every other film about deafness. This comes into stark relief in the second act, where Ruben visits a community for the deaf and learns that deafness isn’t a disability, but a culture. It’s during this section that another remarkable performance comes to life, that of Paul Raci, who portrays Joe, a community leader. It’s here where Paul says to Ruben, “Being deaf is not a handicap. It’s not something to be fixed.” This is not only a reminder for Ruben, but for us all. Thankfully, Darius Marder’s wondrous film not only offers us a complex and rich soundscape, but a reminder that the absence of sound will stay with us well after the credits roll.

Cooper’s films include “Crazy Heart,” “Out of the Furnace” and “Antlers.”

The White Tiger

Directed by Ramin Bahrani Essay by Fernando Meirelles

Watching Ramin Bahrani’s new film is like being plugged into an oxygen tank, a breath of fresh air. Adapted from the Man Booker Prize winning novel by Aravind Adiga, it reveals an India in transition from an archaic society with many problems of inequality and corruption, to a modern India, with exactly the same problems. Instead of the country’s recent prosperity resolving social issues, it seems to be leading it to breaking point – as personified by Balram, played by the excellent Adarsh Gourav. Balram has such a common face that the police could not identify him if he committed a crime. And that’s exactly what he does.

It is an uncomfortable experience to be served in India. Doors are opened, suitcases loaded, always with smiles. I never understood where that comes from. I live in an unbearably unequal country, Brazil, but the attitude of those who serve is different. And that’s what the film is about, the psychology of servants. Balram, the driver of a wealthy family, likens his class to roosters waiting docilely to have their heads cut off. The competition for an opportunity is so fierce that a servant is grateful for the opportunity to be exploited. Balram lives in this kind of Stockholm syndrome, until he becomes aware of his situation. As there is no political way to resolve the issue, his solution is radical. He breaks with tradition. Balram’s way out is every man for himself.

The film navigates between a black comedy, a social drama and a thriller, but I also watched it as a documentary. Ramin changes the gears with elegance and mastery in a film where everything works beautifully. If Satyajit Ray revealed India to the world 60 years ago, now it seems like Ramin’s turn to take the baton.

Meirelles received an Oscar nomination for “City of God.” His other films include “The Constant Gardener” and “The Two Popes.”

The United States vs. Billie Holiday

Directed by Lee Daniels Essay by Craig Brewer

Lee Daniels isn’t interested in black and white. Let me explain.

Of course, there are strong elements of racial equality, empowerment, and injustice that courses through all his work. With his new film, “The United States vs. Billie Holiday,” the racial dynamic is in full force. The office of J. Edgar Hoover has declared war on a single song, Holiday’s “Strange Fruit,” a riveting ballad of protest against the lynchings of Black Americans. From the set up alone, you can see the clear areas of turf each side of the conflict would occupy in a standard movie narrative: right and wrong, good guys and bad guys, black and white. But Lee’s characters are never that simple.

Billie Holiday, played with chilling force by Andra Day, is not your standard Hollywood protagonist. Yes, she is cheated, abused, set-up, and beat down, but she also wounds the family around her with selfish abandon. Her continuous return to the needle breaks our hearts. She falls into the arms of manipulative men and literally flinches at the touch of genuine affection. In one scene, a Black elevator attendant refuses to allow Billie Holiday to enter, directing her instead to the service elevator. The crucible of emotions that Andra Day conjures ranges from humiliation and rage to a fleeting moment of sympathy for a man fearful of becoming “Strange Fruit” himself. And how does our heroine react? Not with a nod of understanding or a hand on his shoulder, but an angry flick of her lit cigarette to his chest.

Like a volatile lover, Lee Daniels’ characters draw you in with genuine sympathy and strength, but don’t be fooled. You’re gonna get bit, you’re gonna get hit, and you’re gonna get hurt. And just when you want to slam the door and scream, “TO HELL WITH YOU!” you soon find yourself tangled in the sweaty sheets again.

It’s messy love. And no one understands that better than Lee.

Brewer ’s films include “Hustle & Flow,” “Dolemite Is My Name” and “Coming to America 2.”

The Trial of the Chicago 7

Directed by Aaron Sorkin Essay by Bartlett Sher

In Act IV of Shakespeare’s “Henry V,” following the surprising victory in the Battle of Agincourt, the King stands with his men and does something you wouldn’t think would be very dramatic or satisfying as the climax of one of Shakespeare’s greatest History plays: he reads a list of names.  Of course, not just any names but of those who have died in battle that very day.

Aaron Sorkin concludes his great history film, “The Trial of the Chicago 7,” by reminding us of Tom Hayden’s bold effort to read the names of young men killed in Vietnam during the course of the trial.  It’s just a list, a series of human beings, anonymous to most of us, but it summons a pathos, an era; it’s a call for rebellion and truth, and it’s a great fucking end to a movie.

But Aaron Sorkin the writer always begins with words, with extraordinary transactions between characters—fast, complex, claiming the high wire between great ideas and beliefs and country, and balancing them in the relationships and characters that have seized and made history.

Aaron the director opens “The Trial of the Chicago 7” with a such an effortless breathtaking series of images that spin the viewer back to 1968, to a time when the republic felt on edge, precarious, and to a story where we get to look into the mirror of our past and then deeply inhale a lesson that offers us enough oxygen to sustain us through the present.

Frankly, as a director who has been lucky enough to work with Aaron as a writer, I was humbled and gobsmacked by the directing in “Chicago 7,” and as any director will recognize, it summoned my deepest form of compliment: jealousy I was flat out jealous.  I was jealous of his graceful capture of the sweep of history against deep and contradictory characters, I found myself envious of his juggling of difficult trial scenes, his elegant use of stock footage, the surprising, smart transitions, the perfect casting (I mean, just Frank Langella being that bold, that unforgiving and cruel, that honest!), and doing that thing we all search for in our work: the way he dropped audiences into a spell, a time, and helped them emerge renewed, and thinking again about who we are.

As a kid, I remember attending an outdoor, almost makeshift production of “Henry V” and being mesmerized by the battles and bluster, but in the end, finding myself on the brink of tears as a young actor read a list of names of those who had died in battle.  This wasn’t very long after Vietnam.  And you couldn’t ignore how art was healing. How our past and our stories and our myths could guide us.

Aaron Sorkin made a movie where a list of names recited signified how truth can pierce the iron shield of injustice.  He reminded us again of our past. Our history.  And helped at a time when we need to rethink who we are, again.  But that is great directing…using story, images, words, a list of names, to give us the intimation that we could be a little bolder, and maybe a little better.

A Tony-winning theater director, Sher’s work includes productions of “South Pacific,” “Cymbeline” and “My Fair Lady.”

Directed by Chloe Zhao

Essay by Barry Jenkins

There’s a meticulousness to her craft, and yet it also feels kind of free. I think people watch her work, and they first assume, “Oh, they just showed up and things just happened.” But I know what it takes to get this framing and that framing. I think there’s this idea of things just happening, but there’s also the craft involved in knowing a place, getting there, understanding the light, and then creating an environment for your actors to just do this wonderful thing they do.

II work at the Telluride Film Festival, and so I’ve done that drive. I’ve driven from Florida to southwest Colorado. I’ve driven from San Francisco and L.A. So I’ve passed people like the people in this film. I’ve been at the gas station and looked over and seen them. I’ve had a few conversations, but I’ve never really taken the time to try to understand who they are. I think with this film, she’s really taken the time to show us at least a glimpse of who these people are.

Jenkins in the Oscar-nominated director of “Moonlight” and “If Beale Street Could Talk.”

More from Variety

Emayatzy Corinealdi and Morris Chestnut Lead a Soapy and Intense ‘Reasonable Doubt’ Season 2: TV Review

‘Existential Threat’ of AI Central to Animation Guild Negotiations

How Much Should AI Giants Pay Hollywood? What Insiders Say Has Stalled Any Licensing Deals

More from our brands, how to watch ‘the view’ live online without cable.

26 Stellar Wines Under $100 (That Taste Like They Cost a Lot More)

Court OKs Diamond Sports’ NBA, NHL Deals Ahead of Key Fall Hearing

The Best Loofahs and Body Scrubbers, According to Dermatologists

FBI: International Recruits Station 19′s Jay Hayden for Season 4 Arc