short essay films

The Best Essay Films, Ranked

What is an essay film? Let's take a look at the movie genre that replaces exciting plots with the poetry of tangled self-reflection.

In literature, an essay is a composition dealing with its subject from a personal point of view. The pioneer of this genre, 16th-century French writer and philosopher Michel de Montaigne, used the French word "essai" to describe his "attempts" to put subjective thoughts into writing. Deriving its name from Montaigne’s magnum opus Essays and the literary genre in general, essay films are defined as a self-reflexive form of avant-garde, experimental, sort of documentary cinema that can be traced back to the dawn of filmmaking.

From early silent essay films, like D. W. Griffith’s A Corner in Wheat and Dziga Vertov’s Man with a Movie Camera , to in-depth explorations from the second half of the 20th century, these are some of the best essay films ever made, ranked.

8 A Corner in Wheat

The 14-minute short A Corner in Wheat (1909) is considered by many to be the world's earliest essay film. Directed by filmmaking pioneer D. W. Griffith, this shot follows a ruthless tycoon who wants to control the wheat market. A powerful portrayal of capitalistic greed , A Corner in Wheat is a bold commentary on the contrast between the wealthy speculators and the agricultural poor. It is simply one of the best early short films.

7 Two or Three Things I Know About Her

Described by MUBI as "a landmark transition from the maestro’s jazzy genre deconstructions of the 60s to his gorgeous and inquisitive essay films of the future" (such as Histoire(s) du cinéma , Goodbye to Language , The Image Book ), 1967's Two or Three Things I Know About Her is Jean-Luc Godard’s collage of modern life.

Related: The Best Jean-Luc Godard Films, Ranked

The story of 24 hours in the life of housewife Juliette (Marina Vlady), who moonlights as a prostitute, is only a template for the filmmaker’s social observation of 1960s France, sprinkled with references to the nightmares of the Vietnam War. Whispering in our ears as narrator, Godard tells us much more than two or three things about "her," referring to Paris rather than Juliette.

6 F for Fake

Orson Welles’ 1973 essay film F for Fake focuses on three hoaxers, the notorious art forger Elmyr de Hory who had a talent for copying styles of noted painters; his biographer Clifford Irving whose fake "authorized biography" of Howard Hughes was one of the biggest literary scandals of the 20th century; and Welles himself with his famous War of the Worlds hoax. One of the best Orson Welles films , F for Fake investigates the tenuous lines between forgery and art, illusion and life.

5 News from Home

An unforgettable time capsule of New York in the 1970s, News from Home features Belgian film director Chantal Akerman reading melancholic, sometimes passive-aggressive letters from her mother over beautiful shots of New York, where Akerman relocated at the age of 21. Released in 1976, after the filmmaker’s breakthrough drama Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles , News from Home makes plain the disconnection in family, while New York and the young artist’s alienating come more and more to the front.

4 As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty

Jonas Mekas, the godfather of American avant-garde cinema, made one of the most personal, but at the same time one of the most universal films ever. It is his 2000 experimental documentary As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty . Compiled from Mekas' home movies from 1970-1999, this nearly five-hour essay film shows the loveliness of everyday life. Footage of what Mekas calls "little fragments of paradise," the first steps of the filmmaker’s children, their happy life in New York, trips to Europe, and on and on, are complemented by Mekas’ commentary. It is a poetic diary about nothing but life.

3 Sans Soleil

Directed by Chris Marker, king of the essay film , 1983’s Sans Soleil ( Sunless ) follows an unseen cameraman named Sandor Krasna, Marker's alter ego, who journeys from Africa to Japan, "two extreme poles of survival." The 100-minute poetical collage of Marker’s original documentary footage, clips from films and television, sequences from other filmmakers, and stock videos comes complete with the voice of a nameless female narrator, who reads Krasna's letters that sum up his lifetime's travels.

Like Marker's French New Wave masterpiece La Jetee , Sans Soleil reflects on human experience, the nature of memory, understanding of time, and life on our planet. It is pure beauty.

Made when the filmmaker, Derek Jarman, was dying from AIDS-related complications that rendered him partially blind and capable only of experiencing shades of blue, the great experimental film Blue from 1993 is like no other. Jarman’s 79-minute final feature consists of a single shot of one color — International Klein Blue. Against a blank blue screen, the iconic director interweaves a medley of sounds, music, voices of four narrators (Jarman himself, the chameleonic Tilda Swinton , Nigel Terry, and John Quentin), the filmmaker’s daydreams, adventures of Blue, as a character and color, diary-like entries about Jarman’s life and current events, names of his lovers and friends who had died of AIDS, fragments of poetry, and much more.

Related: 8 Must-Watch Movies From LGBTQ+ Filmmakers

A deeply personal goodbye and a sort of self-portrait, this essay film is dedicated to Yves Klein , the artist who mixed this deep blue hue and said, "At first there is nothing, then there is a profound nothingness, after that a blue profundity".

1 Man with a Movie Camera

Dziga Vertov, one of cinema’s greatest innovators, believed that the "eye" of the camera captures life better than the subjective eye of a human. In the 1920s, he started looking for cinematic truth, showing life outside the field of human vision through a mix of rhythmic editing, multiple exposures, experimental camera angles, backward sequences, freeze frames, extreme close-ups, and other "cinema eye" techniques. This is how Vertov’s best-known film, 1929’s Man with a Movie Camera , was made. This narrative-free essay shows the kaleidoscopic life of Soviet cities. An avant-garde urban poem, Man with a Movie Camera makes clear what the beauty of cinema is.

17 Essential Movies For An Introduction To Essay Films

Put most concisely by Timothy Corrigan in his book on the film: ‘from its literary origins to its cinematic revisions, the istic describes the many-layered activities of a personal point of view as a public experience’.

Perhaps a close cousin to documentary, the film is at its core a personal mode of filmmaking. Structured in a breadth of forms, a partial definition could be said to be part fact, part fiction with an intense intimacy (but none of these are necessarily paramount).

Stemming from the literary as a form of personal expression borne from in-depth explorations of its chosen topic, the film can be agitprop, exploratory, or diaristic and generally rejects narrative progression and concretised conclusions in favour of a thematic ambivalence. Due to its nature as inherently personal, the term itself is as vague and expansive as the broad collective of films it purports to represent.

To borrow Aldous Huxley’s definition, the is a device for saying almost everything about almost anything. In built then is an inherent expansiveness that informs a great ambition in the form itself, but as Huxley acknowledges it can only say almost anything; whether extolling the need for a socialist state (Man with a Movie Camera), deconstructing the power and status of the image itself (Histoire(s) du Cinema, Images of the World and the Inscription of War, Los Angeles Plays Itself) or providing a means to consider ones of past (Walden, News from home, Blue), the film is only the form of expression, which unlike any other taxonomic term suggests almost nothing about the film itself other than its desire to explore.

Below is an 17 film introduction to the film that cannot be pinned down and continue to remake and remodel itself as freely as it sheds connections between any of the films within its own canon.

1. Man with a Movie Camera (1929) dir. Dziga Vertov

An exercise in technical experimentation, Man with a Movie Camera is the pioneering, not to mention most lauded, of Vertov’s filmic polemics: espousing not only a new, necessary way of life, but a means of living that is created through cinema.

Shot by Maurice Kaufman, brother of Vertov, the film is a portrait of a city across 24 hours via bold experimentation based on Vertov’s staunchly Marxist ideologies. Its propagandist structure does not however belie its beauty.

Through masterful technique it became the defining film of 1920’s Soviet Union (perhaps on a par with Eisenstein’s Battleship Potemkin). Its propagation of film as the means through which life is realised, that the camera is now an unequivocal feature of modernity and too a powerful political tool, creates a filmic love letter to industrialisation and the humanist elements of physical labour.

In opposition to Eisenstein, Vertov is a master of his own brand of idiosyncratic montage which, with its sublime manipulative technique combined with realist images, rejects the opiate affects of traditional narrative cinema, attempting to create instead a cinematic language in which the camera becomes the pen of the 20th century.

2. A Propos de Nice (1930) dir. Jean Vigo

Shot by Boris Kaufman, brother of Dziga Vertov (Man with a Movie Camera), A Propos de Nice is a satirical portrait of life in 1920’s Nice. The leisurely upper classes of French society are the subjects of a portrayal the blind escapism and ignorance created by modernity.

Vigo thus contrasts the bourgeois culture of relaxation with the daily grind of the poor in society. The parodic form of the travelogue as anthropological study is employed as a means of document increasing social and economic disparities which Vigo sought to present as necessitating a revolutionary stance (the likes of which cinematographer Kaufman glean from his brother’s agit-prop, propagandist Kino-Pravda series).

Engrained in the very structure of modern society is, for Vigo, deep social inequality; life in this case masks its own inequalities through ignorance and selfishness. Images of women energetically dancing are reduced to slow modern and thus arises from them the absurdity of inherent inequalities.

Like a Jay Gatsby party, the excitement and laughter only serves to mask a profound emptiness whose own ridiculousness is an unacknowledged form of societal freakshow, which only those on the outside can perceive.

3. 2 or 3 Things I Know About Her (1967) dir. Jean-Luc Godard

In a year of 3 Godard diatribes against neo-capitalism, 2 or 3 Thing I Know About Her is the most contemplative; if La Chinoise a document of the soon to be riotous students, 2 or 3 is the suburban families watching the events unfold on their television screens.

Fraught with concern for the disintegration of lexical meaning, Godard’s collage of modern life follows the existentially empty Julitte Jeanson, a bourgeise housewife-come-prostitute, as she contemplates her preconceived societal role and the deadened collective consciousness of everyone whom Godard’s camera encounters.

If language is the house one lives in, as Juliette informs her son, then the house is subject to the blind whims of suited right wing repo men.

The portrait of Juliette is a composite sketch of the modern citizen, replaceable, replicable to the extent that Godard introduces Juliette first as Marina Vlady, the actress who plays her, before acknowledging her as a fictional creation; a less subtle evocation of the resignation to role playing in post-war France, watching death in Vietnam while decided whether or not to go and wash the car.

4. Walden; Diaries, Notes, and Sketches (1969) dir. Jonas Mekas

Walden is the film in its most diaristic form. Essentially a suitably handsome extended home video, Mekas’s film, shot from 1964-1969, features a series of chronologically edited video diaries that span from eating Chinese food with John Lennon, footage from the Velvet Underground’s first performance, or just the filmmaker eating a croissant in Marseille.

Given the length, the film could be criticised as an epic exercise in self-gratification (the filmic equivalent of continuous name dropping), or simultaneously as an invitation into the expansive but hermetic world of the New York art scene in the late 60’s, of which Mekas’ himself was a central fixture.

As with Akerman’s News From Home, it is the film’s internal focus, an exposure of the personal, wherein its interest lies. Mekas’ ability to construct a montage that appears at ease with itself in all its fragmentation, relying on meticulous in-camera precision, creates a sea images which with each wave comes harmony and contrast. Walden emerges then as an unpretentious acknowledgment of the inextricability of experience and image, finding within it celebrations of life’s variety and extended harmonies.

5. F for Fake (1973) dir. Orson Welles

Welles’s final film is an explosive and intelligent scrutinisation of the filmmaking process and the concept of authenticity in art. Centrally presenting Elmyr de Hory’s career as an art forger, F for Fake transcends basic narrative or documentary expositions to instead philosophise on the ontology of authorship.

Increasingly Welles rejects infallibility in favour of a profound ambivalence that is read across the careers of various forgers to eventually become, as is naturally the case for such a sublime example of the film, a personal contemplation of his own career and his self-definition as a perpetual sceptic.

Through rhythmic montage editing and questioning of the structure and the power of the image itself, F for Fake eulogizes the image as a consistently fallible, or deconstructible form, and in true Wellesian style, given it is the form that its director made his career,cannot help but find humour within.

6. Le Fond de l’air est rouge/A Grin Without a Cat (1977) dir. Chris Marker

Widely acknowledged as the master of the film, Le fond de l’air est rouge is a personal rumination of discontent on the progression and dissolution of left-wing politics from Vietnam up until the films release in 1977.

10 years after the Marker conceived Loin du Vietnam, a protest film against the Vietnam war structured in segments from a wealth of French Filmmakers including Godard, Resnais, Lelouch, Varda and Klein, the film is markedly more melancholic, plagued by a scepticism highlighted in the French title (directly translated as the essence of the air is red) that implies the socialist sentiment only ever existed in the air.

Opening with shots from Eisenstein’s Battleship Potemkin (1925), Marker’s mastery of the appropriated image emerges. The film’s first four minutes are perhaps the finest montage sequence of post-war cinema, commending the bravery of those who fought for the socialist ideal but ultimately acknowledging the inevitability of its failure at the hands of right wing opposition, whose growth in power Marker sees as masked by the outward protests of the left.

Behind closed doors centre right solidarity, particularly in Marker’s native France, was only increased in the face of a scattered, disorganised and self-destructive shouts for power from the left.

Marker’s film is archival re-appropriation at its most controlled, his erudition and poetic narration reinforcing the notion of history itself as recreated and retold by individuals, always having an agenda.

7. News From Home (1977) dir. Chantal Akerman

Borne from the influence of the structuralist filmmakers Akerman encountered in New York (see Michael Snow, Stan Brakhage and Hollis Frampton), News from Home is a portrait of a city as seen through the eyes of a foreigner, as she attempts to come to terms with her new surroundings and the contrast to the life she left in Brussels (constantly referenced in the letters from her mother that are used to narrate the film).

Akerman films New York with the intricate eye of someone completely out of their depth, attempting to survive in a city they hardly know, emphasised by the concern of the letters from her mother. News from Home is a contemplation of the inescapability of the past and how it informs the present viewed from a perspective of awe, confusion and intense deliberation.

Akerman’s stares at New York as if to glean some meaning from its landscape as the letters from her mother cannot help make her feel at once a child and to the unchartered explorer entering a new terrain with bravado and wonder.

8. Koyaanisqatsi (1982) dir. Godfrey Reggio

Koyaanisqatsi, meaning life out of balance, is a poetic ode to absurdity constructed through cinematographic deconstructions of time and space. By slowing down images or speeding them up via time-lapse techniques, Reggio presents the fog of modernity as a means to highlight the absurdity of purported meanings, whether it is mass production of hot dogs or humanities destructive capabilities life lived blindly, perceived without questioning, is insignificant.

The film’s rejection of language forces full focus onto the status and power of imagery, especially when contorted, to suppose passivity and acceptance as a way of life, unsurprisingly drawing influence, like Thom Andersen’s Los Angeles Plays Itself (2003) from Guy Debord’s Society of the Spectacle, going as far as to acknowledge him in the credits along with fellow critics of mass communications, big society and the power of technology, Jacques Ellul, Ivan Illich and Leopold Kohr.

As with Godard’s concern for the disintegration of language into base semiotic signifiers, evocative of nothing but materials and the literal, Koyaanisqatsi presents ‘a state of life that calls for another way a living’; a visually stunning but essentially aggressive denouncement of advanced capitalism, its pretence to knowledge and its ability to create an omnipresent complacency that drapes life in a visually pleasing veil, underneath which lies a profound nothingness.

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Essay Film by Yelizaveta Moss LAST REVIEWED: 24 March 2021 LAST MODIFIED: 24 March 2021 DOI: 10.1093/obo/9780199791286-0216

The term “essay film” has become increasingly used in film criticism to describe a self-reflective and self-referential documentary cinema that blurs the lines between fiction and nonfiction. Scholars unanimously agree that the first published use of the term was by Richter in 1940. Also uncontested is that Andre Bazin, in 1958, was the first to analyze a film, which was Marker’s Letter from Siberia (1958), according to the essay form. The French New Wave created a popularization of short essay films, and German New Cinema saw a resurgence in essay films due to a broad interest in examining German history. But beyond these origins of the term, scholars deviate on what exactly constitutes an essay film and how to categorize essay films. Generally, scholars fall into two camps: those who find a literary genealogy to the essay film and those who find a documentary genealogy to the essay film. The most commonly cited essay filmmakers are French and German: Marker, Resnais, Godard, and Farocki. These filmmakers are singled out for their breadth of essay film projects, as opposed to filmmakers who have made an essay film but who specialize in other genres. Though essay films have been and are being produced outside of the West, scholarship specifically addressing essay films focuses largely on France and Germany, although Solanas and Getino’s theory of “Third Cinema” and approval of certain French essay films has produced some essay film scholarship on Latin America. But the gap in scholarship on global essay film remains, with hope of being bridged by some forthcoming work. Since the term “essay film” is used so sparingly for specific films and filmmakers, the scholarship on essay film tends to take the form of single articles or chapters in either film theory or documentary anthologies and journals. Some recent scholarship has pointed out the evolutionary quality of essay films, emphasizing their ability to change form and style as a response to conventional filmmaking practices. The most recent scholarship and conference papers on essay film have shifted from an emphasis on literary essay to an emphasis on technology, arguing that essay film has the potential in the 21st century to present technology as self-conscious and self-reflexive of its role in art.

Both anthologies dedicated entirely to essay film have been published in order to fill gaps in essay film scholarship. Biemann 2003 brings the discussion of essay film into the digital age by explicitly resisting traditional German and French film and literary theory. Papazian and Eades 2016 also resists European theory by explicitly showcasing work on postcolonial and transnational essay film.

Biemann, Ursula, ed. Stuff It: The Video Essay in the Digital Age . New York: Springer, 2003.

This anthology positions Marker’s Sans Soleil (1983) as the originator of the post-structuralist essay film. In opposition to German and French film and literary theory, Biemann discusses video essays with respect to non-linear and non-logical movement of thought and a range of new media in Internet, digital imaging, and art installation. In its resistance to the French/German theory influence on essay film, this anthology makes a concerted effort to include other theoretical influences, such as transnationalism, postcolonialism, and globalization.

Papazian, Elizabeth, and Caroline Eades, eds. The Essay Film: Dialogue, Politics, Utopia . London: Wallflower, 2016.

This forthcoming anthology bridges several gaps in 21st-century essay film scholarship: non-Western cinemas, popular cinema, and digital media.

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The essay film

In recent years the essay film has attained widespread recognition as a particular category of film practice, with its own history and canonical figures and texts. In tandem with a major season throughout August at London’s BFI Southbank, Sight & Sound explores the characteristics that have come to define this most elastic of forms and looks in detail at a dozen influential milestone essay films.

Andrew Tracy , Katy McGahan , Olaf Möller , Sergio Wolf , Nina Power Updated: 7 May 2019

from our August 2013 issue

Le camera stylo? Dziga Vertov&#8217;s Man with a Movie Camera (1929)

Le camera stylo? Dziga Vertov’s Man with a Movie Camera (1929)

I recently had a heated argument with a cinephile filmmaking friend about Chris Marker’s Sans soleil (1983). Having recently completed her first feature, and with such matters on her mind, my friend contended that the film’s power lay in its combinations of image and sound, irrespective of Marker’s inimitable voiceover narration. “Do you think that people who can’t understand English or French will get nothing out of the film?” she said; to which I – hot under the collar – replied that they might very well get something, but that something would not be the complete work.

The Sight & Sound Deep Focus season Thought in Action: The Art of the Essay Film runs at BFI Southbank 1-28 August 2013, with a keynote lecture by Kodwo Eshun on 1 August, a talk by writer and academic Laura Rascaroli on 27 August and a closing panel debate on 28 August.

To take this film-lovers’ tiff to a more elevated plane, what it suggests is that the essentialist conception of cinema is still present in cinephilic and critical culture, as are the difficulties of containing within it works that disrupt its very fabric. Ever since Vachel Lindsay published The Art of the Moving Picture in 1915 the quest to secure the autonomy of film as both medium and art – that ever-elusive ‘pure cinema’ – has been a preoccupation of film scholars, critics, cinephiles and filmmakers alike. My friend’s implicit derogation of the irreducible literary element of Sans soleil and her neo- Godard ian invocation of ‘image and sound’ touch on that strain of this phenomenon which finds, in the technical-functional combination of those two elements, an alchemical, if not transubstantiational, result.

Mechanically created, cinema defies mechanism: it is poetic, transportive and, if not irrational, then a-rational. This mystically-minded view has a long and illustrious tradition in film history, stretching from the sense-deranging surrealists – who famously found accidental poetry in the juxtapositions created by randomly walking into and out of films; to the surrealist-influenced, scientifically trained and ontologically minded André Bazin , whose realist veneration of the long take centred on the very preternaturalness of nature as revealed by the unblinking gaze of the camera; to the trash-bin idolatry of the American underground, weaving new cinematic mythologies from Hollywood detritus; and to auteurism itself, which (in its more simplistic iterations) sees the essence of the filmmaker inscribed even upon the most compromised of works.

It isn’t going too far to claim that this tradition has constituted the foundation of cinephilic culture and helped to shape the cinematic canon itself. If Marker has now been welcomed into that canon and – thanks to the far greater availability of his work – into the mainstream of (primarily DVD-educated) cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built.

In his review of Letter from Siberia (1957), Bazin placed Marker at right angles to cinema proper, describing the film’s “primary material” as intelligence – specifically a “verbal intelligence” – rather than image. He dubbed Marker’s method a “horizontal” montage, “as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot”.

Here, claimed Bazin, “a given image doesn’t refer to the one that preceded it or the one that will follow, but rather it refers laterally, in some way, to what is said.” Thus the very thing which makes Letter “extraordinary”, in Bazin’s estimation, is also what makes it not-cinema. Looking for a term to describe it, Bazin hit upon a prophetic turn of phrase, writing that Marker’s film is, “to borrow Jean Vigo’s formulation of À propos de Nice (‘a documentary point of view’), an essay documented by film. The important word is ‘essay’, understood in the same sense that it has in literature – an essay at once historical and political, written by a poet as well.”

Marker’s canonisation has proceeded apace with that of the form of which he has become the exemplar. Whether used as critical/curatorial shorthand in reviews and programme notes, employed as a model by filmmakers or examined in theoretical depth in major retrospectives (this summer’s BFI Southbank programme, for instance, follows upon Andréa Picard’s two-part series ‘The Way of the Termite’ at TIFF Cinémathèque in 2009-2010, which drew inspiration from Jean-Pierre Gorin ’s groundbreaking programme of the same title at Vienna Filmmuseum in 2007), the ‘essay film’ has attained in recent years widespread recognition as a particular, if perennially porous, mode of film practice. An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition.

Las Hurdes (1933)

It is crucial to note that the ‘essay film’ is not only a post-facto appellation for a kind of film practice that had not bothered to mark itself with a moniker, but also an invention and an intervention. While it has acquired its own set of canonical ‘texts’ that include the collected works of Marker, much of Godard – from the missive (the 52-minute Letter to Jane , 1972) to the massive ( Histoire(s) de cinéma , 1988-98) – Welles’s F for Fake (1973) and Thom Andersen’s Los Angeles Plays Itself (2003), it has also poached on the territory of other, ‘sovereign’ forms, expanding its purview in accordance with the whims of its missionaries.

From documentary especially, Vigo’s aforementioned À propos de Nice, Ivens’s Rain (1929), Buñuel’s sardonic Las Hurdes (1933), Resnais’s Night and Fog (1955), Rouch and Morin’s Chronicle of a Summer (1961); from the avant garde, Akerman’s Je, Tu, Il, Elle (1974), Straub/Huillet’s Trop tôt, trop tard (1982); from agitprop, Getino and Solanas’s The Hour of the Furnaces (1968), Portabella’s Informe general… (1976); and even from ‘pure’ fiction, for example Gorin’s provocative selection of Griffith’s A Corner in Wheat (1909).

Just as within itself the essay film presents, in the words of Gorin, “the meandering of an intelligence that tries to multiply the entries and the exits into the material it has elected (or by which it has been elected),” so, without, its scope expands exponentially through the industrious activity of its adherents, blithely cutting across definitional borders and – as per the Manny Farber ian concept which gave Gorin’s ‘Termite’ series its name – creating meaning precisely by eating away at its own boundaries. In the scope of its application and its association more with an (amorphous) sensibility as opposed to fixed rules, the essay film bears similarities to the most famous of all fabricated genres: film noir, which has been located both in its natural habitat of the crime thriller as well as in such disparate climates as melodramas, westerns and science fiction.

The essay film, however, has proved even more peripatetic: where noir was formulated from the films of a determinate historical period (no matter that the temporal goalposts are continually shifted), the essay film is resolutely unfixed in time; it has its choice of forebears. And while noir, despite its occasional shadings over into semi-documentary during the 1940s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both.

“Here is a form that seems to accommodate the two sides of that divide at the same time, that can navigate from documentary to fiction and back, creating other polarities in the process between which it can operate,” writes Gorin. When Orson Welles , in the closing moments of his masterful meditation on authenticity and illusion F for Fake, chortles, “I did promise that for one hour, I’d tell you only the truth. For the past 17 minutes, I’ve been lying my head off,” he is expressing both the conjuror’s pleasure in a trick well played and the artist’s delight in a self-defined mode that is cheerfully impure in both form and, perhaps, intention.

Nevertheless, as the essay film merrily traipses through celluloid history it intersects with ‘pure cinema’ at many turns and its form as such owes much to one particularly prominent variety thereof.

The montage tradition

If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: randomness, revelation and sensuous response countered by construction, forceful argumentation and didactic instruction.

No less than the mystics, however, the montagists were after essences. Eisenstein , Dziga Vertov and Pudovkin , along with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images – the general made powerfully, viscerally immediate in the particular. Here, says Eisenstein, in the umbrella-wielding harpies who set upon the revolutionaries in October (1928), is bourgeois Reaction made manifest; here, in the serried ranks of soldiers proceeding as one down the Odessa Steps in Battleship Potemkin (1925), is Oppression undisguised; here, in the condemned Potemkin sailor who wins over his imminent executioners with a cry of “Brothers!” – a moment powerfully invoked by Marker at the beginning of his magnum opus A Grin Without a Cat (1977) – is Solidarity emergent and, from it, the seeds of Revolution.

The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film. So, too, the former’s fierce ideological certainty and cadre spirit contrast with that free play of the mind, the Montaigne -inspired meanderings of individual intelligence, that so characterise our image of the latter.

Beyond Marker’s personal interest in and inheritance from the Soviet masters, classical montage laid the foundations of the essay film most pertinently in its foregrounding of the presence, within the fabric of the film, of a directing intelligence. Conducting their experiments in film not through ‘pure’ abstraction but through narrative, the montagists made manifest at least two operative levels within the film: the narrative itself and the arrangement of that narrative by which the deeper structures that move it are made legible. Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society.

And as such it was method rather than material that was the pathway to truth. Fidelity to the authentic – whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage – was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality.

Dziga Vertov’s Enthusiasm (1931)

Midway on their Marxian mission to change the world rather than interpret it, the montagists actively made the world even as they revealed it. In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself.

Vertov’s Man with a Movie Camera (1929), now claimed as the most venerable and venerated ancestor of the essay film (and this despite its prototypically purist claim to realise a ‘universal’ cinematic language “based on its complete separation from the language of literature and the theatre”) is the archetypal model of this high-modernist agon. While it is the turning of the movie projector itself and the penetrating gaze of Vertov’s kino-eye that sets the whirling dynamo of the city into motion, the recorder creating that which it records, that motion is also outside its control.

At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension. So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles – to exhaust its wealth of surfaces, meanings, implications, resonances – collides with awe (or fear) before a plenitude that can never be encompassed.

Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”. The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability.

The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined. While Leni Riefenstahl’s Triumph of the Will (1935) and Olympia (1938) amply and chillingly demonstrated that montage, like any instrumental apparatus, has no inherent ideological nature, hers were more the exceptions that proved the rule. (Though why, apart from ideological repulsiveness, should Riefenstahl’s plentifully fabricated ‘documentaries’ not be considered as essay films in their own right?)

The overwhelming fact remains that the great majority of those who drew upon the Soviet montagists for explicitly ideological ends (as opposed to Hollywood’s opportunistic swipings) resided on the left of the spectrum – and, in the montagists’ most notable successor in the period immediately following, retained their alignment with and inextricability from the state.

Progressive vs radical

The Grierson ian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium. But if it offered a far paler antecedent to the essay film than the Soviet montage tradition, it nevertheless represents an important stage in the evolution of the essay-film form, for reasons not unrelated to some of those rather staid qualities.

The Soviet montagists had created a vision of modernity racing into the future at pace with the social and spiritual liberation of its proletarian pilot-passenger, an aggressively public ideology of group solidarity. The Grierson school, by contrast, offered a domesticated image of an efficient, rational and productive modern industrial society based on interconnected but separate public and private spheres, as per the ideological values of middle-class liberal individualism.

The Soviet montagists had looked to forge a universal, ‘pure’ cinematic language, at least before the oppressive dictates of Stalinist socialist realism shackled them. The Grierson school, evincing a middle-class disdain for the popular and ‘low’ arts, sought instead to purify the sullied medium of cinema by importing extra-cinematic prestige: most notably Night Mail (1936), with its Auden -penned, Britten -scored ode to the magic of the mail, or Humphrey Jennings’s salute to wartime solidarity A Diary for Timothy (1945), with its mildly sententious E.M. Forster narration.

Night Mail (1936)

What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language (montage) with a traditionally literary one (narration); and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning – as the mediating intelligence that connects the viewer to the images viewed.

In Night Mail especially there is, in the whimsy of the Auden text and the film’s synchronisation of private time and public history, an intimation of the essay film’s musing, reflective voice as the chugging rhythm of the narration timed to the speeding wheels of the train gives way to a nocturnal vision of solitary dreamers bedevilled by spectral monsters, awakening in expectation of the postman’s knock with a “quickening of the heart/for who can bear to be forgot?”

It’s a curiously disquieting conclusion: this unsettling, anxious vision of disappearance that takes on an even darker shade with the looming spectre of war – one that rhymes, five decades on, with the wistful search of Marker’s narrator in Sans soleil, seeking those fleeting images which “quicken the heart” in a world where wars both past and present have been forgotten, subsumed in a modern society built upon the systematic banishment of memory.

It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. In contrast to the striving culture-snobbery of the Griersonian documentary, the Resnais-Marker collaborations (and the Resnais solo documentary shorts that preceded them) inaugurate a blithe, seemingly effortless dialogue between cinema and the other arts in both their subjects (painting, sculpture) and their assorted creative personnel (writers Paul Éluard , Jean Cayrol , Raymond Queneau , composers Darius Milhaud and Hanns Eisler ). This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation.

Related to this was the form’s problems with official patronage. Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi (1953) for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed.

Night and Fog (1955)

Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence – the whirl of the city, the rhythm of the rain, the workings of industry – to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The African masks preserved in the Musée de l’Homme in Les statues meurent aussi speak of a bloody legacy of vanquished and conquered civilisations; the labyrinthine archival complex of the Bibliothèque Nationale in the sardonically titled Toute la mémoire du monde (1956) sparks a disquisition on all that is forgotten in the act of cataloguing knowledge; the miracle of modern plastics saluted in the witty, industrially commissioned Le Chant du styrène (1958) regresses backwards to its homely beginnings; in Night and Fog an unprecedentedly enormous effort of human organisation marshals itself to actively produce a dreadful, previously unimaginable nullity.

To overstate the case, loss is the primary motor of the modern essay film: loss of belief in the image’s ability to faithfully reflect reality; loss of faith in the cinema’s ability to capture life as it is lived; loss of illusions about cinema’s ‘purity’, its autonomy from the other arts or, for that matter, the world.

“You never know what you may be filming,” notes one of Marker’s narrating surrogates in A Grin Without a Cat, as footage of the Chilean equestrian team at the 1952 Helsinki Olympics offers a glimpse of a future member of the Pinochet junta. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak.

What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes.

— Andrew Tracy

1. À propos de Nice

Jean Vigo, 1930

Few documentaries have achieved the cult status of the 22-minute A propos de Nice, co-directed by Jean Vigo and cameraman Boris Kaufman at the beginning of their careers. The film retains a spontaneous, apparently haphazard, quality yet its careful montage combines a strong realist drive, lyrical dashes – helped by Marc Perrone’s accordion music – and a clear political agenda.

In today’s era, in which the Côte d’Azur has become a byword for hedonistic consumption, it’s refreshing to see a film that systematically undermines its glossy surface. Using images sometimes ‘stolen’ with hidden cameras, A propos de Nice moves between the city’s main sites of pleasure: the Casino, the Promenade des Anglais, the Hotel Negresco and the carnival. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the (then) squalid streets of the Old Town.

As often, women bear the brunt of any critique of bourgeois consumption: a rich old woman’s head is compared to an ostrich, others grin as they gaze up at phallic factory chimneys; young women dance frenetically, their crotch to the camera. In the film’s most famous image, an elegant woman is ‘stripped’ by the camera to reveal her naked body – not quite matched by a man’s shoes vanishing to display his naked feet to the shoe-shine.

An essay film avant la lettre , A propos de Nice ends on Soviet-style workers’ faces and burning furnaces. The message is clear, even if it has not been heeded by history.

— Ginette Vincendeau

2. A Diary for Timothy

Humphrey Jennings, 1945

A Diary for Timothy takes the form of a journal addressed to the eponymous Timothy James Jenkins, born on 3 September 1944, exactly five years after Britain’s entry into World War II. The narrator, Michael Redgrave , a benevolent offscreen presence, informs young Timothy about the momentous events since his birth and later advises that, even when the war is over, there will be “everyday danger”.

The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business.

Within the confines of the Ministry of Information’s remit – to lift the spirits of a battle-weary nation – and the loose narrative framework of Timothy’s first six months, Jennings finds ample expression for the kind of formal experiment that sets his work apart from that of other contemporary documentarians. He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony. Managing to keep to the right side of sentimentality, it still makes for potent viewing.

— Catherine McGahan

3. Toute la mémoire du monde

Alain Resnais, 1956

In the opening credits of Toute la mémoire du monde, alongside the director’s name and that of producer Pierre Braunberger , one reads the mysterious designation “Groupe des XXX”. This Group of Thirty was an assembly of filmmakers who mobilised in the early 1950s to defend the “style, quality and ambitious subject matter” of short films in post-war France; the signatories of its 1953 ‘Declaration’ included Resnais , Chris Marker and Agnès Varda. The success of the campaign contributed to a golden age of short filmmaking that would last a decade and form the crucible of the French essay film.

A 22-minute poetic documentary about the old French Bibliothèque Nationale, Toute la mémoire du monde is a key work in this strand of filmmaking and one which can also be seen as part of a loose ‘trilogy of memory’ in Resnais’s early documentaries. Les statues meurent aussi (co-directed with Chris Marker) explored cultural memory as embodied in African art and the depredations of colonialism; Night and Fog was a seminal reckoning with the historical memory of the Nazi death camps. While less politically controversial than these earlier works, Toute la mémoire du monde’s depiction of the Bibliothèque Nationale is still oddly suggestive of a prison, with its uniformed guards and endless corridors. In W.G. Sebald ’s 2001 novel Austerlitz, directly after a passage dedicated to Resnais’s film, the protagonist describes his uncertainty over whether, when using the library, he “was on the Islands of the Blest, or, on the contrary, in a penal colony”.

Resnais explores the workings of the library through the effective device of following a book from arrival and cataloguing to its delivery to a reader (the book itself being something of an in-joke: a mocked-up travel guide to Mars in the Petite Planète series Marker was then editing for Editions du Seuil). With Resnais’s probing, mobile camerawork and a commentary by French writer Remo Forlani, Toute la mémoire du monde transforms the library into a mysterious labyrinth, something between an edifice and an organism: part brain and part tomb.

— Chris Darke

4. The House is Black

(Khaneh siah ast) Forough Farrokhzad, 1963

Before the House of Makhmalbaf there was The House is Black. Called “the greatest of all Iranian films” by critic Jonathan Rosenbaum, who helped translate the subtitles from Farsi into English, this 20-minute black-and-white essay film by feminist poet Farrokhzad was shot in a leper colony near Tabriz in northern Iran and has been heralded as the touchstone of the Iranian New Wave.

The buildings of the Baba Baghi colony are brick and peeling whitewash but a student asked to write a sentence using the word ‘house’ offers Khaneh siah ast : the house is black. His hand, seen in close-up, is one of many in the film; rather than objects of medical curiosity, these hands – some fingerless, many distorted by the disease – are agents, always in movement, doing, making, exercising, praying. In putting white words on the blackboard, the student makes part of the film; in the next shots, the film’s credits appear, similarly handwritten on the same blackboard.

As they negotiate the camera’s gaze and provide the soundtrack by singing, stamping and wheeling a barrow, the lepers are co-authors of the film. Farrokhzad echoes their prayers, heard and seen on screen, with her voiceover, which collages religious texts, beginning with the passage from Psalm 55 famously set to music by Mendelssohn (“O for the wings of a dove”).

In the conjunctions between Farrokhzad’s poetic narration and diegetic sound, including tanbur-playing, an intense assonance arises. Its beat is provided by uniquely lyrical associative editing that would influence Abbas Kiarostami , who quotes Farrokhzad’s poem ‘The Wind Will Carry Us’ in his eponymous film . Repeated shots of familiar bodily movement, made musical, move the film insistently into the viewer’s body: it is infectious. Posing a question of aesthetics, The House Is Black uses the contagious gaze of cinema to dissolve the screen between Us and Them.

— Sophie Mayer

5. Letter to Jane: An Investigation About a Still

Jean-Luc Godard & Jean-Pierre Gorin, 1972

With its invocation of Brecht (“Uncle Bertolt”), rejection of visual pleasure (for 52 minutes we’re mostly looking at a single black-and-white still) and discussion of the role of intellectuals in “the revolution”, Letter to Jane is so much of its time as to appear untranslatable to the present except as a curio from a distant era of radical cinema. Between 1969 and 1971, Godard and Gorin made films collectively as part of the Dziga Vertov Group before they returned, in 1972, to the mainstream with Tout va bien , a big-budget film about the aftermath of May 1968 featuring leftist stars Yves Montand and Jane Fonda . It was to the latter that Godard and Gorin directed their Letter after seeing a news photograph of her on a solidarity visit to North Vietnam in August 1972.

Intended to accompany the US release of Tout va bien, Letter to Jane is ‘a letter’ only in as much as it is fairly conversational in tone, with Godard and Gorin delivering their voiceovers in English. It’s stylistically more akin to the ‘blackboard films’ of the time, with their combination of pedagogical instruction and stern auto-critique.

It’s also an inspired semiological reading of a media image and a reckoning with the contradictions of celebrity activism. Godard and Gorin examine the image’s framing and camera angle and ask why Fonda is the ‘star’ of the photograph while the Vietnamese themselves remain faceless or out of focus? And what of her expression of compassionate concern? This “expression of an expression” they trace back, via an elaboration of the Kuleshov effect , through other famous faces – Henry Fonda , John Wayne , Lillian Gish and Falconetti – concluding that it allows for “no reverse shot” and serves only to bolster Western “good conscience”.

Letter to Jane is ultimately concerned with the same question that troubled philosophers such as Levinas and Derrida : what’s at stake ethically when one claims to speak “in place of the other”? Any contemporary critique of celebrity activism – from Bono and Geldof to Angelina Jolie – should start here, with a pair of gauchiste trolls muttering darkly beneath a press shot of ‘Hanoi Jane’.

6. F for Fake

Orson Welles, 1973

Those who insist it was all downhill for Orson Welles after Citizen Kane would do well to take a close look at this film made more than three decades later, in its own idiosyncratic way a masterpiece just as innovative as his better-known feature debut.

Perhaps the film’s comparative and undeserved critical neglect is due to its predominantly playful tone, or perhaps it’s because it is a low-budget, hard-to-categorise, deeply personal work that mixes original material with plenty of footage filmed by others – most extensively taken from a documentary by François Reichenbach about Clifford Irving and his bogus biography of his friend Elmyr de Hory , an art forger who claimed to have painted pictures attributed to famous names and hung in the world’s most prestigious galleries.

If the film had simply offered an account of the hoaxes perpetrated by that disreputable duo, it would have been entertaining enough but, by means of some extremely inventive, innovative and inspired editing, Welles broadens his study of fakery to take in his own history as a ‘charlatan’ – not merely his lifelong penchant for magician’s tricks but also the 1938 radio broadcast of his news-report adaptation of H.G. Wells’ The War of the Worlds – as well as observations on Howard Hughes , Pablo Picasso and the anonymous builders of Chartres cathedral. So it is that Welles contrives to conjure up, behind a colourful cloak of consistently entertaining mischief, a rueful meditation on truth and falsehood, art and authorship – a subject presumably dear to his heart following Pauline Kael ’s then recent attempts to persuade the world that Herman J. Mankiewicz had been the real creative force behind Kane.

As a riposte to that thesis (albeit never framed as such), F for Fake is subtle, robust, supremely erudite and never once bitter; the darkest moment – as Welles contemplates the serene magnificence of Chartres – is at once an uncharacteristic but touchingly heartfelt display of humility and a poignant memento mori. And it is in this delicate balancing of the autobiographical with the universal, as well as in the dazzling deployment of cinematic form to illustrate and mirror content, that the film works its once unique, now highly influential magic.

— Geoff Andrew

7. How to Live in the German Federal Republic

(Leben – BRD) Harun Farocki, 1990

Harun Farocki ’s portrait of West Germany in 32 simulations from training sessions has no commentary, just the actions themselves in all their surreal beauty, one after the other. The Bundesrepublik Deutschland is shown as a nation of people who can deal with everything because they have been prepared – taught how to react properly in every possible situation.

We know how birth works; how to behave in kindergarten; how to chat up girls, boys or whatever we fancy (for we’re liberal-minded, if only in principle); how to look for a job and maybe live without finding one; how to wiggle our arses in the hottest way possible when we pole-dance, or manage a hostage crisis without things getting (too) bloody. Whatever job we do, we know it by heart; we also know how to manage whatever kind of psychological breakdown we experience; and we are also prepared for the end, and even have an idea about how our burial will go. This is the nation: one of fearful people in dire need of control over their one chance of getting it right.

Viewed from the present, How to Live in the German Federal Republic is revealed as the archetype of many a Farocki film in the decades to follow, for example Die Umschulung (1994), Der Auftritt (1996) or Nicht ohne Risiko (2004), all of which document as dispassionately as possible different – not necessarily simulated – scenarios of social interactions related to labour and capital. For all their enlightening beauty, none of these ever came close to How to Live in the German Federal Republic which, depending on one’s mood, can play like an absurd comedy or the most gut-wrenching drama. Yet one disquieting thing is certain: How to Live in the German Federal Republic didn’t age – our lives still look the same.

— Olaf Möller

8. One Man’s War

(La Guerre d’un seul homme) Edgardo Cozarinsky , 1982

One Man’s War proves that an auteur film can be made without writing a line, recording a sound or shooting a single frame. It’s easy to point to the ‘extraordinary’ character of the film, given its combination of materials that were not made to cohabit; there couldn’t be a less plausible dialogue than the one Cozarinsky establishes between the newsreels shot during the Nazi occupation of Paris and the Parisian diaries of novelist and Nazi officer Ernst Jünger . There’s some truth to Pascal Bonitzer’s assertion in Cahiers du cinéma in 1982 that the principle of the documentary was inverted here, since it is the images that provide a commentary for the voice.

But that observation still doesn’t pin down the uniqueness of a work that forces history through a series of registers, styles and dimensions, wiping out the distance between reality and subjectivity, propaganda and literature, cinema and journalism, daily life and dream, and establishing the idea not so much of communicating vessels as of contaminating vessels.

To enquire about the essayistic dimension of One Man’s War is to submit it to a test of purity against which the film itself is rebelling. This is no ars combinatoria but systems of collision and harmony; organic in their temporal development and experimental in their procedural eagerness. It’s like a machine created to die instantly; neither Cozarinsky nor anyone else could repeat the trick, as is the case with all great avant-garde works.

By blurring the genre of his literary essays, his fictional films, his archival documentaries, his literary fictions, Cozarinsky showed he knew how to reinvent the erasure of borders. One Man’s War is not a film about the Occupation but a meditation on the different forms in which that Occupation can be represented.

—Sergio Wolf. Translated by Mar Diestro-Dópido

9. Sans soleil

Chris Marker, 1982

There are many moments to quicken the heart in Sans soleil but one in particular demonstrates the method at work in Marker’s peerless film. An unseen female narrator reads from letters sent to her by a globetrotting cameraman named Sandor Krasna (Marker’s nom de voyage), one of which muses on the 11th-century Japanese writer Sei Shōnagon .

As we hear of Shōnagon’s “list of elegant things, distressing things, even of things not worth doing”, we watch images of a missile being launched and a hovering bomber. What’s the connection? There is none. Nothing here fixes word and image in illustrative lockstep; it’s in the space between them that Sans soleil makes room for the spectator to drift, dream and think – to inimitable effect.

Sans soleil was Marker’s return to a personal mode of filmmaking after more than a decade in militant cinema. His reprise of the epistolary form looks back to earlier films such as Letter from Siberia (1958) but the ‘voice’ here is both intimate and removed. The narrator’s reading of Krasna’s letters flips the first person to the third, using ‘he’ instead of ‘I’. Distance and proximity in the words mirror, multiply and magnify both the distances travelled and the time spanned in the images, especially those of the 1960s and its lost dreams of revolutionary social change.

While it’s handy to define Sans soleil as an ‘essay film’, there’s something about the dry term that doesn’t do justice to the experience of watching it. After Marker’s death last year, when writing programme notes on the film, I came up with a line that captures something of what it’s like to watch Sans soleil: “a mesmerising, lucid and lovely river of film, which, like the river of the ancients, is never the same when one steps into it a second time”.

10. Handsworth Songs

Black Audio Film Collective, 1986

Made at the time of civil unrest in Birmingham, this key example of the essay film at its most complex remains relevant both formally and thematically. Handsworth Songs is no straightforward attempt to provide answers as to why the riots happened; instead, using archive film spliced with made and found footage of the events and the media and popular reaction to them, it creates a poetic sense of context.

The film is an example of counter-media in that it slows down the demand for either immediate explanation or blanket condemnation. Its stillness allows the history of immigration and the subsequent hostility of the media and the police to the black and Asian population to be told in careful detail.

One repeated scene shows a young black man running through a group of white policemen who surround him on all sides. He manages to break free several times before being wrestled to the ground; if only for one brief, utopian moment, an entirely different history of race in the UK is opened up.

The waves of post-war immigration are charted in the stories told both by a dominant (and frequently repressive) televisual narrative and, importantly, by migrants themselves. Interviews mingle with voiceover, music accompanies the machines that the Windrush generation work at. But there are no definitive answers here, only, as the Black Audio Film Collective memorably suggests, “the ghosts of songs”.

— Nina Power

11. Los Angeles Plays Itself

Thom Andersen, 2003

One of the attractions that drew early film pioneers out west, besides the sunlight and the industrial freedom, was the versatility of the southern Californian landscape: with sea, snowy mountains, desert, fruit groves, Spanish missions, an urban downtown and suburban boulevards all within a 100-mile radius, the Los Angeles basin quickly and famously became a kind of giant open-air film studio, available and pliant.

Of course, some people actually live there too. “Sometimes I think that gives me the right to criticise,” growls native Angeleno Andersen in his forensic three-hour prosecution of moving images of the movie city, whose mounting litany of complaints – couched in Encke King’s gravelly, near-parodically irritated voiceover, and sometimes organised, as Stuart Klawans wrote in The Nation, “in the manner of a saloon orator” – belies a sly humour leavening a radically serious intent.

Inspired in part by Mark Rappaport’s factual essay appropriations of screen fictions (Rock Hudson’s Home Movies, 1993; From the Journals of Jean Seberg , 1995), as well as Godard’s Histoire(s) de cinéma, this “city symphony in reverse” asserts public rights to our screen discourse through its magpie method as well as its argument. (Today you could rebrand it ‘Occupy Hollywood’.) Tinseltown malfeasance is evidenced across some 200 different film clips, from offences against geography and slurs against architecture to the overt historical mythologies of Chinatown (1974), Who Framed Roger Rabbit (1988) and L.A. Confidential (1997), in which the city’s class and cultural fault-lines are repainted “in crocodile tears” as doleful tragedies of conspiracy, promoting hopelessness in the face of injustice.

Andersen’s film by contrast spurs us to independent activism, starting with the reclamation of our gaze: “What if we watch with our voluntary attention, instead of letting the movies direct us?” he asks, peering beyond the foregrounding of character and story. And what if more movies were better and more useful, helping us see our world for what it is? Los Angeles Plays Itself grows most moving – and useful – extolling the Los Angeles neorealism Andersen has in mind: stories of “so many men unneeded, unwanted”, as he says over a scene from Billy Woodberry’s Bless Their Little Hearts (1983), “in a world in which there is so much to be done”.

— Nick Bradshaw

12. La Morte Rouge

Víctor Erice, 2006

The famously unprolific Spanish director Víctor Erice may remain best known for his full-length fiction feature The Spirit of the Beehive (1973), but his other films are no less rewarding. Having made a brilliant foray into the fertile territory located somewhere between ‘documentary’ and ‘fiction’ with The Quince Tree Sun (1992), in this half-hour film made for the ‘Correspondences’ exhibition exploring resemblances in the oeuvres of Erice and Kiarostami , the relationship between reality and artifice becomes his very subject.

A ‘small’ work, it comprises stills, archive footage, clips from an old Sherlock Holmes movie, a few brief new scenes – mostly without actors – and music by Mompou and (for once, superbly used) Arvo Pärt . If its tone – it’s introduced as a “soliloquy” – and scale are modest, its thematic range and philosophical sophistication are considerable.

The title is the name of the Québécois village that is the setting for The Scarlet Claw (1944), a wartime Holmes mystery starring Basil Rathbone and Nigel Bruce which was the first movie Erice ever saw, taken by his sister to the Kursaal cinema in San Sebastian.

For the five-year-old, the experience was a revelation: unable to distinguish the ‘reality’ of the newsreel from that of the nightmare world of Roy William Neill’s film, he not only learned that death and murder existed but noted that the adults in the audience, presumably privy to some secret knowledge denied him, were unaffected by the corpses on screen. Had this something to do with war? Why was La Morte Rouge not on any map? And what did it signify that postman Potts was not, in fact, Potts but the killer – and an actor (whatever that was) to boot?

From such personal reminiscences – evoked with wondrous intimacy in the immaculate Castillian of the writer-director’s own wry narration – Erice fashions a lyrical meditation on themes that have underpinned his work from Beehive to Broken Windows (2012): time and change, memory and identity, innocence and experience, war and death. And because he understands, intellectually and emotionally, that the time-based medium he himself works in can reveal unforgettably vivid realities that belong wholly to the realm of the imaginary, La Morte Rouge is a great film not only about the power of cinema but about life itself.

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Essays About Films: Top 5 Examples and 10 Prompts

Get ready to binge-watch some of the best films of all time and write essays about films with our essay examples and prompts.

Films are an exciting part of the entertainment industry. From romance to science fiction, there is a film genre for everyone. Films are a welcome escape from reality, providing a few hours of immersive entertainment that anyone can enjoy. Not only are films masterful works of art, but they are also great sources of employment for many. As a work of intellectual property, films can promote job creation and drive economic growth while advancing a country’s cultural esteem. With such a vast library of films available to us, many topics of discussion are available for your next essay.

5 Intriguing Film Essays

1. scream therapy: the mental health benefits of horror movies by michael varrati, 2. reel truth: is film school worth it by jon gann, 3. why parasite’s success is forcing a reckoning in japan’s film industry by eric margolis, 4. streaming services want to fill the family movie void by nicole sperling, 5. church, critics say new movie on marcos family distorts philippine history by camille elemia, 10 engaging writing prompts on essays about films, 1. the best film that influenced me, 2. the evolution of animated films, 3. women in modern films, 4. creating short films, 5. diversity in films, 6. film critique of my favorite film, 7. how covid-19 changed the film industry, 8. promoting independent films , 9. importance of marketing strategies in films’ success, 10. how to combat film piracy.

“Galvanized by the genre’s ability to promote empathy and face down the ineffable monsters of our daily lives, Barkan’s exploration of how others use horror to heal and grow speaks to the wider impact of our engagement with these movies that are so often dismissed as having little moral value.”

Initially criticized for enabling sadistic tendencies, horror films are now proven to provide a relieving experience and psychological ease to their audience. Numerous theories about the mental health benefits of watching horror films have emerged. But beyond these profound reasons, horror films could be a great source of thrilling fun. You might also be interested in these essays about The Great Gatsby .

“These programs are great at selling the dream of filmmaking, but rarely the realities of the business, so students graduate with few real-world skills, connections, or storytelling ability. Unable to get a job out of school, newly minted “filmmakers” go back into the system for a higher graduate degree… The cycle is self-perpetuating, and rarely benefits anyone, except the institution’s bottom line.”

One has to weigh several personal and external factors in determining whether a full degree would be worth the leap and their pockets. Directors spill the beans on their thoughts and experiences with film school to help the lost find their way.

“Japanese cinema was trending on Japanese Twitter right after the Oscars, with cinephiles and film directors alike airing grievances about a film industry that is deeply flawed despite ample talent and a global appetite for Japanese goods.”

The Japanese lamented their lackluster film industry and waning cultural influence worldwide as the first Korean film took home the Oscars. Reminiscing its golden years of film in the mid-20th century, Japan is stricken with nostalgia. But for the industry to see a renaissance, Japan has to end exploitative labor conditions for creators and censorship.

“The decline today is due to a combination of factors: a hangover from the pandemic, efforts by studios like Disney and Paramount to bolster their own streaming services with fresh content and the risks of greenlighting family films that aren’t based on well-known intellectual property.”

The latest trend in the race to rule film streaming compensates for the lack of family movies in theaters. Giant video-on-demand platforms have started rolling their production and investments into the genre plans for animation and even expensive live-action.

“The film… has amplified existing online narratives that portray the elder Marcos’ presidency as the “golden era” of the Philippines rather than as the darkest chapter of the Southeast Asian country’s recent history, as critics allege.”

A film in the Philippines draws crowds and criticisms for revising facts in one of the country’s most painful periods. But, overall, the movie paints a positive image of the dictator’s family, whose two-decade reign was marked by murders and an economic crisis that was among the worst to hit the country.

Essays About Films: The best film that influenced me

Beyond being a source of entertainment, films have the power to shape how we lead our lives and view the world. In this essay, talk about the film that etched an indelible mark on you. First, provide a summary and specify what drew you to the story or its storytelling. Next, narrate the scenes that moved you the most. Finally, explain how you relate to this film and if you would have wanted a similar or different ending to your story and personal life.

Animated films used to be a treat mainly for children. But now, their allure cuts across generations. For your essay, look into the history of animated films. Find out which countries are the biggest influencers in animated films and how they have fostered these intellectual properties to thrive in global markets. Research how the global direction of animation is heading, both in theatrical releases and streaming, and what animation fans can expect in the next few months.

Have the roles of women progressed in modern films? Or do they remain to be damsels in distress saved by a prince? Watch recent popular films, explain how they depict women, and answer these questions in your essay. Take note of apparent stereotypes and the depth of their character. Compare how they differ from the most popular films in the 90s. You can also compare original films and remakes and focus on the changes in women characters.

Short films are great starting points for budding directors. They could require much less financing than those in theater releases and still deliver satisfactory quality content. For this essay, brief the readers through the stages of short film production — writing the script, choosing the cast, production, marketing, and so on. To go the extra mile in your essay, interview award-winning short filmmakers to gain tips on how they best optimize their limited budget and still bag an award.

Has the film industry promoted diversity and inclusivity in its cast selection? Explore recent diverse films and analyze whether they have captured the true meaning of diversity. One example is when people from underrepresented backgrounds take on the leading roles, not just the story’s sidekicks. You can also build on this research by the Center for Scholars and Storytellers to show the revenue challenges non-diverse films face at the box office.

Watch your favorite film and write a critique by expressing opinions on various aspects of the film. For example, you can have comments on the plot, execution, effects, cinematography, actors, and dialogue. Take time to relay your observations and analysis, as these will be the foundations that will determine the strength or weakness of your comments.

As it has impacted many of us, COVID-19 accelerated how we watch films. Explore the exodus to streaming during the pandemic and how theater operators cope with this shift. In addition, you can look into how the competition among content producers has shifted and intensified.

Independent films can be a hidden treasure, but it could be difficult to sell them, given how niche their concepts can be. So, find out the best strategies that have worked wonders for now successful independent filmmakers. Specifically, learn how they marketed their content online and in film festivals. Then, find out what forms of support the government is extending to high-caliber independent filmmakers and what could be done to help them thrive.

The biggest mistake made by filmmakers and producers is not marketing their films when marketing is the best way to reach a bigger audience and gain profits to make more films. This essay should provide readers with the best practices filmmakers can adopt when marketing a film. For example, directors, producers, and actors should aggressively attend events for promotion. Developing viral movie campaigns also provide a big boost to exposure.

As more films are released digitally, filmmakers must better protect their intellectual property. First, write about the needed measures before the film release, such as adopting a digital rights management strategy. Next, lay down what production companies need to do to deter piracy activities immediately. Some good responses include working closely with enforcement authorities.

Don’t forget to proofread your essay with Grammarly , the best grammar checker.

For more related topic ideas, you can also check our guide for writing essays about cinema .

Yna Lim is a communications specialist currently focused on policy advocacy. In her eight years of writing, she has been exposed to a variety of topics, including cryptocurrency, web hosting, agriculture, marketing, intellectual property, data privacy and international trade. A former journalist in one of the top business papers in the Philippines, Yna is currently pursuing her master's degree in economics and business.

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, short films in focus: the oscar-nominated short films of 2022.

Last week, the Academy announced that none of the Shorts categories would be part of the live telecast (along with Best Editing, Best Production Design, Best Sound, Best Score and Best Make-up and Hairstyling). I’ve seen a few people respond with “I understand cutting shorts, but not the rest.” Obviously, I don’t understand cutting the shorts. The logic used to be that nobody sees the shorts, so why bother? But that has changed dramatically over the last 15 years since Shorts.tv and Magnolia have been working to make the films available, both theatrically and through streaming. The Oscars, for better or worse and with varying degrees of success, have always been about celebrating film in all its forms. Without these three categories, some of the year’s best, most innovative films (no matter their length) would go largely undiscovered. Short films have their own form and deserve the same treatment as the features.

The 2022 Oscar Nominated Shorts programs are currently in theaters. They will be available on iTunes, Amazon, Verizon, and Google Play starting on March 22. For more info, visit Shorts.tv .

LIVE ACTION

“Ala Kachuu (Take and Run)” - What we think is going to be a story of a young woman named Sezim (Alina Turdumamatova) gaining her independence by escaping the possibility of being stuck in an arranged marriage instead turns out to be a nightmare about that very thing. The film explores the plight of Kyrgyz women, many of whom are kidnapped and forced into a life of isolation and servitude. While we have seen this story many times over, Maria Brendle’s film remains a gripping drama in which we pray right alongside Sezim for some ray of hope. Turdumamatova’s performance keeps us watching. (38 min.)

“On My Mind” - A man ( Rasmus Hammerich ) walks into a bar and orders a drink. On his way out, he notices a karaoke machine and asks if he can film himself singing “You Are Always On My Mind.” We soon realize that the man has a need to do this that goes far beyond being a nuisance. This is an unexpectedly tender tearjerker that earns the tears, especially due to the final shot. Hammerich’s singing might test your patience, but his lack of talent makes for a much more poignant gesture. Directed by Martin Strange-Hansen. (18 min.)

“Please Hold” - A mix of semi-futuristic ideas from “RoboCop” and “ Brazil ,” in which a man is mistakenly arrested by drone cops and forced into a jail cell where he only has automated voice prompts to help get him out of prison. The film makes the most of its concept for its statements on prison reform, artificial intelligence, and the inherent flaws in automated voice messaging. The mix of tones doesn’t always work, but much like “AluKachuu (Take and Run)”, we wait for something good to happen that will put an end to this horrific situation. An English-language entry combined with a high concept make this an almost guaranteed win on Oscar night. Almost. (19 min.)

“The Dress” - This short tells the story of a dwarf woman (Anna Dzieduszycka) who works as a maid and engages her co-worker in discussions of love, sex and marriage, all of which she feels she will never have, until one day a man takes an interest in her. "The Dress" is a nicely rendered character portrait of a woman coming to terms with her prospects and the unfortunate reality of her situation, which limits her chances of feeling loved. Dzieduszycka is a real find. Directed by Tadeusz Lysiak. (30 min.)

“The Long Goodbye” - A week and a half ago when I watched this, it was a different film. Today, it will play much differently. The rug gets pulled out from the viewer as a family enjoys their day in an English neighborhood, only to have it disrupted by a horrific invasion. The film gains its power in its final moments as the brilliant Riz Ahmed has the final word on how inclusivity in a foreign land remains out of reach for far too many. Directed by Aneil Karia , but star and co-writer Riz Ahmed is also nominated and could go home a winner. (12 min.)

DOCUMENTARY

“Audible” - The first of two sports-centered docs this year, this one focuses on the Maryland School for the Deaf’s football team trying to defend their title. The death of a former schoolmate gives the film its emotional center as the teammates try to come to terms with the loss. Director Matthew Ogens has a lot of themes to work with here (bullying, LGBTQ+ issues, loss, redemption) and mixes them seamlessly in a short film that would likely have been equally satisfying as a feature. A crowd-pleaser and likely to be a favorite with voters. (35 min.)

“Lead Me Home” - The subject of homelessness in San Francisco and Los Angeles might be too big in scope to make for a satisfying short, as directors Pedro Kos and Jon Shenk try their best to follow some individuals and their plights while also giving an overview of the governmental side of the crisis. Their admirable attempts certainly come from a place of compassion and urgency, but the film consists of too many stylistic sequences that employ a bombastic score, some time-lapse and cross-cutting between the haves and the have-nots, and many seemingly rehearsed scenes of people in boardrooms and zoom chats speaking in earnest tones about what needs to be done. Focusing on one or two of the more compelling stories about the homeless would have had more of an impact. (39 min.)

“The Queen of Basketball” - The New York Times op-doc for this year centers on Lucy Harris, the first woman ever to be inducted into the Naismith Memorial Basketball Hall of Fame. Directed by Ben Proudfoot, the short takes a broad overview of her accomplishments throughout high school and the Olympic, as Harris talks us through her life story and how she struggled with being bipolar and starting a family after leaving basketball. Harris does all the narrating and she is an engaging force of positivity. The film gets the job done, but as with all docs from the New York Times and the Atlantic , it is told in a formulaic narrative that shows little in the way of a directorial personality. It’s the safest of the five. (22 min.)

“Three Songs For Benazir” - Benazir is a young farmer living on the outskirts of Kabul where he is married to Shaista and has two kids. In order to build a life with her beyond the farm (or just to put shoes on their kids’ feet), he wants to enroll in the Afghan army, but his father and brother refuse to sign the proper papers to make that happen. Directors Elizabeth and Gulistan Mirzaei have found an interesting subject (Benazir) to help focus their story of the dramas that exist within these communities, while also keeping in mind the larger world out there. There are recurring shots of a blimp hovering in the sky, keeping watch. We leave the film wondering how Benazir is doing nowadays. (22 min.)

“When We Were Bullies” - Jay Rosenblatt’s personal examination of a bullying incident from almost 50 years ago is one that will resonate with many viewers, causing them to recollect similar incidents from their own childhood. A chance encounter with a former student also helps give the film a great deal of narrative momentum as Rosenblatt seeks to reconnect with everyone in his graduating class to help better understand his role in the bullying. Scrapbook animations also keep the story involving and engaging, but the more I thought about it, the more disingenuous it seemed. The apology ultimately falls flat. “I’m not sure anyone will want to see your film. They might find it tedious,” says a 92-year-old former elementary school teacher to her former student. If this were any longer than 35 minutes, she might have been right. Directed by Jay Rosenblatt. (35 min.)

“Affairs of the Art” - Right off the bat, this short alerts its audience that this program is not for kids. A woman named Beryl (voiced by Menna Trussler) recounts significant moments from her childhood and relates them to the children she has now, all of whom have their own unique obsessions (taxidermy, art, Communism, plastic surgery, giving wounded animals a home). Beryl dreams of the artist's life she could have had if she made different choices. The hand-drawn animation style and sense of humor might remind one of the works of Bill Plympton . It's charmingly deranged and occasionally grotesque, but always with an eye on the subject of not being able to grow up. Definitely not for easily triggered animal lovers. Directed by Joanna Quinn. (16 min.)

“Bestia” - This is a grim tale about a Chilean Intelligence worker whose work haunts her to the point where she starts to lose her grip on reality. Her relationship with her dog and her body occupy a significant amount of her time. A dialogue-free piece that has a beautiful texture to it, "Bestia" is full of dark shadows and porcelain, almost expressionless figurines as its characters. Still, I have to admit that when I read the synopsis on IMDb after watching it, my first thought was, “Wait, that’s what that was about?” Another one that's not for easily triggered dog lovers. Directed by Hugo Covarrubias. (15 min.)

“Boxballet” - "Boxballet" is a wordless Russian love story between an Olive Oyl-like ballerina and a hulking, burly boxer. It's a nice exploration of opposites being attracted to one another, and how these characters have more layers to them than their professions would indicate. I’m somewhat put off by an animation style that makes humans look too much like extreme caricatures that it makes it hard to connect to them, but there are some lovely flourishes and textures here to keep our eyes on the screen. Directed by Anton Dyakov. (15 min.)

“Robin Robin” - No Disney, Pixar, or Sony titles this year, but we do have an Aardman film and it’s no doubt poised to take home the award (FYI, the most kid-friendly film almost always wins, so you’d be foolish to bet against it). This utterly charming short tells the tale of Robin (voiced by Bronte Carmichael ), a bird who believes she is, or could be, a mouse, just like the ones who sneak into houses without being noticed. The artists traded in claymation for felt, with elaborately designed settings that make this tangible piece all the more worthy of a big-screen viewing. Aardman hasn’t won this award in 25 years and, while it may not be their most inventive, it nevertheless is a delight. Also featuring the voices of Gillian Anderson and Richard E. Grant . Directed by Daniel Ojari and Michael Please. (32 min.)

“The Windshield Wiper” - With its metaphorical title, this film explores love in many forms and how the chance to have it in one’s life often gets missed (swiping through dating profiles in rapid succession, for instance). "The Windshield Wiper" travels through many cities and even into space, where a text message exchange is superimposed over a hovering satellite, with one’s deepest feelings and desires becoming a synthetic exchange instead of an in-person, heartfelt declaration. The narratives here aren’t meant to coalesce into a final moment that explains everything (despite what the man on the train says at the end), but to further express that there exists no big answer or epiphany regarding chance encounters or explosive relationships. They happen or don’t, based on the choices we make. The animation style relies primarily on rotoscoping, but the colors here are sharp and arresting; the flow of the piece is hypnotic. My personal favorite of the bunch. Directed by Alberto Mielgo. (14 min.)

The 2022 Oscar Nominated Shorts programs are currently in theaters. They will be available on iTunes, Amazon, Verizon, and Google Play starting on March 22. For more info, visit Shorts.tv .

Collin Souter

Collin Souter has been reviewing films in Chicago for 14 years, most notably on WGN Radio where he has been a part of the movie review segment every week on The Nick Digilio Show .

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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.

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The Writing Center • University of North Carolina at Chapel Hill

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

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Film Writing: Sample Analysis

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Introductory Note

The analysis below discusses the opening moments of the science fiction movie Ex Machina in order to make an argument about the film's underlying purpose. The text of the analysis is formatted normally. Editor's commentary, which will occasionally interrupt the piece to discuss the author's rhetorical strategies, is written in brackets in an italic font with a bold "Ed.:" identifier. See the examples below:

The text of the analysis looks like this.

[ Ed.: The editor's commentary looks like this. ]

Frustrated Communication in Ex Machina ’s Opening Sequence

Alex Garland’s 2015 science fiction film Ex Machina follows a young programmer’s attempts to determine whether or not an android possesses a consciousness complicated enough to pass as human. The film is celebrated for its thought-provoking depiction of the anxiety over whether a nonhuman entity could mimic or exceed human abilities, but analyzing the early sections of the film, before artificial intelligence is even introduced, reveals a compelling examination of humans’ inability to articulate their thoughts and feelings. In its opening sequence, Ex Machina establishes that it’s not only about the difficulty of creating a machine that can effectively talk to humans, but about human beings who struggle to find ways to communicate with each other in an increasingly digital world.

[ Ed.: The piece's opening introduces the film with a plot summary that doesn't give away too much and a brief summary of the critical conversation that has centered around the film. Then, however, it deviates from this conversation by suggesting that Ex Machina has things to say about humanity before non-human characters even appear. Off to a great start. ]

The film’s first establishing shots set the action in a busy modern office. A woman sits at a computer, absorbed in her screen. The camera looks at her through a glass wall, one of many in the shot. The reflections of passersby reflected in the glass and the workspace’s dim blue light make it difficult to determine how many rooms are depicted. The camera cuts to a few different young men typing on their phones, their bodies partially concealed both by people walking between them and the camera and by the stylized modern furniture that surrounds them. The fourth shot peeks over a computer monitor at a blonde man working with headphones in. A slight zoom toward his face suggests that this is an important character, and the cut to a point-of-view shot looking at his computer screen confirms this. We later learn that this is Caleb Smith (Domhnall Gleeson), a young programmer whose perspective the film follows.

The rest of the sequence cuts between shots from Caleb’s P.O.V. and reaction shots of his face, as he receives and processes the news that he has won first prize in a staff competition. Shocked, Caleb dives for his cellphone and texts several people the news. Several people immediately respond with congratulatory messages, and after a moment the woman from the opening shot runs in to give him a hug. At this point, the other people in the room look up, smile, and start clapping, while Caleb smiles disbelievingly—perhaps even anxiously—and the camera subtly zooms in a bit closer. Throughout the entire sequence, there is no sound other than ambient electronic music that gets slightly louder and more textured as the sequence progresses. A jump cut to an aerial view of a glacial landscape ends the sequence and indicates that Caleb is very quickly transported into a very unfamiliar setting, implying that he will have difficulty adjusting to this sudden change in circumstances.

[ Ed.: These paragraphs are mostly descriptive. They give readers the information they will need to understand the argument the piece is about to offer. While passages like this can risk becoming boring if they dwell on unimportant details, the author wisely limits herself to two paragraphs and maintains a driving pace through her prose style choices (like an almost exclusive reliance on active verbs). ]

Without any audible dialogue or traditional expository setup of the main characters, this opening sequence sets viewers up to make sense of Ex Machina ’s visual style and its exploration of the ways that technology can both enhance and limit human communication. The choice to make the dialogue inaudible suggests that in-person conversations have no significance. Human-to-human conversations are most productive in this sequence when they are mediated by technology. Caleb’s first response when he hears his good news is to text his friends rather than tell the people sitting around him, and he makes no move to take his headphones out when the in-person celebration finally breaks out. Everyone in the building is on their phones, looking at screens, or has headphones in, and the camera is looking at screens through Caleb’s viewpoint for at least half of the sequence.

Rather than simply muting the specific conversations that Caleb has with his coworkers, the ambient soundtrack replaces all the noise that a crowded building in the middle of a workday would ordinarily have. This silence sets the uneasy tone that characterizes the rest of the film, which is as much a horror-thriller as a piece of science fiction. Viewers get the sense that all the sounds that humans make as they walk around and talk to each other are being intentionally filtered out by some presence, replaced with a quiet electronic beat that marks the pacing of the sequence, slowly building to a faster tempo. Perhaps the sound of people is irrelevant: only the visual data matters here. Silence is frequently used in the rest of the film as a source of tension, with viewers acutely aware that it could be broken at any moment. Part of the horror of the research bunker, which will soon become the film’s primary setting, is its silence, particularly during sequences of Caleb sneaking into restricted areas and being startled by a sudden noise.

The visual style of this opening sequence reinforces the eeriness of the muted humans and electronic soundtrack. Prominent use of shallow focus to depict a workspace that is constructed out of glass doors and walls makes it difficult to discern how large the space really is. The viewer is thus spatially disoriented in each new setting. This layering of glass and mirrors, doubling some images and obscuring others, is used later in the film when Caleb meets the artificial being Ava (Alicia Vikander), who is not allowed to leave her glass-walled living quarters in the research bunker. The similarity of these spaces visually reinforces the film’s late revelation that Caleb has been manipulated by Nathan Bates (Oscar Isaac), the troubled genius who creates Ava.

[ Ed.: In these paragraphs, the author cites the information about the scene she's provided to make her argument. Because she's already teased the argument in the introduction and provided an account of her evidence, it doesn't strike us as unreasonable or far-fetched here. Instead, it appears that we've naturally arrived at the same incisive, fascinating points that she has. ]

A few other shots in the opening sequence more explicitly hint that Caleb is already under Nathan’s control before he ever arrives at the bunker. Shortly after the P.O.V shot of Caleb reading the email notification that he won the prize, we cut to a few other P.O.V. shots, this time from the perspective of cameras in Caleb’s phone and desktop computer. These cameras are not just looking at Caleb, but appear to be scanning him, as the screen flashes in different color lenses and small points appear around Caleb’s mouth, eyes, and nostrils, tracking the smallest expressions that cross his face. These small details indicate that Caleb is more a part of this digital space than he realizes, and also foreshadow the later revelation that Nathan is actively using data collected by computers and webcams to manipulate Caleb and others. The shots from the cameras’ perspectives also make use of a subtle fisheye lens, suggesting both the wide scope of Nathan’s surveillance capacities and the slightly distorted worldview that motivates this unethical activity.

[ Ed.: This paragraph uses additional details to reinforce the piece's main argument. While this move may not be as essential as the one in the preceding paragraphs, it does help create the impression that the author is noticing deliberate patterns in the film's cinematography, rather than picking out isolated coincidences to make her points. ]

Taken together, the details of Ex Machina ’s stylized opening sequence lay the groundwork for the film’s long exploration of the relationship between human communication and technology. The sequence, and the film, ultimately suggests that we need to develop and use new technologies thoughtfully, or else the thing that makes us most human—our ability to connect through language—might be destroyed by our innovations. All of the aural and visual cues in the opening sequence establish a world in which humans are utterly reliant on technology and yet totally unaware of the nefarious uses to which a brilliant but unethical person could put it.

Author's Note: Thanks to my literature students whose in-class contributions sharpened my thinking on this scene .

[ Ed.: The piece concludes by tying the main themes of the opening sequence to those of the entire film. In doing this, the conclusion makes an argument for the essay's own relevance: we need to pay attention to the essay's points so that we can achieve a rich understanding of the movie. The piece's final sentence makes a chilling final impression by alluding to the danger that might loom if we do not understand the movie. This is the only the place in the piece where the author explicitly references how badly we might be hurt by ignorance, and it's all the more powerful for this solitary quality. A pithy, charming note follows, acknowledging that the author's work was informed by others' input (as most good writing is). Beautifully done. ]

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
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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!

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

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Writing Short FIlms How to Write a Short Film Header StudioBinder

Scriptwriting

How to Write a Short Film That Gets Noticed

How to Make a Short Film
How to Write a Short Without Dialogue
Short Film Schedule Tips
Write a Short That Gets Noticed
Making a Short Film
How to Storyboard a Short Film
Phases of Short Film Pre-Production
Ari Aster Short Films
How Whiplash Went From a Short to a Feature
Best Short Films of All Time
Best Short Film Ideas
Brainstorm Short Film Ideas
Social Media for Short Films
Crowdfunding Movies
Fiscal Responsibility on a Short
The Ultimate Film Grants List
Top Film Festivals

W riting short films can be daunting, but it’s one of the best ways to improve your screenwriting and get noticed. But many a drawer is littered with short film scripts that will never see the light of day, much less the light of a Kino.

Writing a short film can be a lesson in filmmaking, but it can also be a calling card for finding representation or financing. So how do you write a great short film? What makes a short script different from a feature? And where can you turn if you want people to pay attention?

Today, we’re giving you the nine essential do’s and don’ts of writing short films. Stick to the rules and you’ll be writing short films that connect with readers, audiences, and agents — not just credit card companies.

Let’s jump in!

Keep it simple
Pick a unique concept
Find an interesting twist
Stick with one genre
Keep the short...short
Don't try to write a feature
Determine the best format
Tell a stand-alone story
Watch more short films

SHORT FILM DEFINITION

What is a short film.

A short film is a movie that isn't long enough to be a feature length film. While there is no official consensus on this, it generally means that your short film has a total running time of 45-min or less, including the credits.

How long is a short film?

Short films can be anywhere between 15 seconds to 45 minutes in length, generally.
If you're submitting your short film to festivals, this can vary as well. The Sundance Film Festival considers 50 minutes as a short film, while the Academy Awards consider 40 minutes a short film.

HOW TO WRITE A SHORT FILM

1. keep it simple.

If there is one universal rule for writing short films, it's this. Remember to K.I.S.S. — Keep it simple, students.

Many screenwriters complicate stories that can be told quite simply. This is not to say you shouldn’t challenge yourself. Push the limits, go for what you love, write what feels right.

But making a mountain from a molehill is never a positive. Don’t try to cram too many twists and turns when brainstorming your short film .

Multiple storylines, time periods, or points of view can certainly be pulled off — but they should all raise a great big red flag. Complexity requires a compelling reason in a short film.

The more complicated you make your story, the more danger you’ll encounter in connecting to an audience. That’s because you’re straying from this simple rule: K.I.S.S.

Here’s a great example of a short film, The Privilege Game , that keeps it simple and hits hard in every way.

The Privilege Game is a succinct and almost perfect short film.

Iceberg storytelling - simple technique for interesting storytelling.

There is a concept known as Iceberg Storytelling.

This is used as a metaphor for telling a very bare and stripped down story that gives the viewer just enough information to build strong emotions, and allow them to fill in the blanks with their own imaginations.

There is a cool article on iceberg storytelling written by filmmaker Rob Hardy , where he explains the concept through Ernest Hemingway's short story For Sale: Baby Shoes, Never Worn.

How to write a short film

2. pick a unique concept.

You want to get noticed. You want to make something good. So it makes perfect sense that you’ll look around to see what’s generating heat right now. That’s all fine and good.

But jumping on the bandwagon is a surefire way to set yourself up for frustration. Copying the latest trends in features or the festival circuit is the number one way to get your script, and your film, lost in the shuffle.

What’s the solution? You need to find a unique concept. Even if you really do love the what’s in vogue right now, you still need to come up with an out-of-the-box, personal take on your material.

Writing short films requires new and innovative ideas.

The short film One-Minute Time Machine exemplifies the kind of short film ideas you might want to come up with: A unique concept. One location. Two actors.

One-Minute Time Machine (2014)

Writing short films

3. find a clever twist.

Choosing a unique concept doesn’t mean you have to start from scratch. Whether you’re writing drama short films, comedy , sci-fi, horror , or something else — telling a familiar story in a fresh way can get you noticed.

Most of the best short films use tried-and-true tales as their foundation. This happens often in features as well.

Think Shrek and Maleficent . Fairy tales with a twist. A fresh point of view.

Draw from folklore, current events, or history. Take these stories in bold new directions and you might get a winner at short film festivals .

You might even wind up at the Oscars.

The Door tells the story of the 1986 Chernobyl nuclear accident through the eyes of one man. It’s a compelling angle on a well-known event.

The Academy Awards nominated "The Door" for the best short film category in 2008

The Door follows all three rules we've covered so far: it keeps the story simple, involves a unique concept, and approaches the material with a creative twist.

Take a look at the first page of the screenplay for The Door and see if you can spot all three of these forces at play. Click below to read the full scene:

How to Write a Short Script The Door Short Script Example StudioBinder Screenwriting Software

How to write a short film that gets you noticed

One man, one mission: it's simple.

The setting , and especially the particulars of the man's mission — prying off a door — are unique, specific.

And the familiar scene of a cozy family apartment juxtaposed against otherworldly and mysterious surroundings, with a guard shouting off screen, cleverly twists our expectations. It engages the audience.

Are we in a post-apocalyptic alternate reality? Is this our world, and if so, when is it? We want to keep watching to find out what Nikolai does, and discover what world we're in.

Top Film Festivals →
Short Film Idea-Generator →
Guide to the Best Short Films Ever →

4. Pick a genre and go for it

When writing a short film that’ll get into short film festivals and get you noticed, it’s vital to pick one genre and stick to it. Remember, writing short films requires you to keep it simple. Going with one genre gives you a pre-set guide to storytelling simplicity.

The Hollywood graveyard is filled with features and short movies that blend genres. These films leave audiences stranded in a “What the heck am I supposed to be watching?” gray area.

Horror? Comedy? Romance? Western? Drama? Especially when writing a short film, you’ll want to be able to point to your genre and say with confidence, “That’s what this is!”

Mixing and subverting genres — yes, by all means, yes. Just not if you’re writing short films with the goal of getting Hollywood’s attention.

What are genres and how can you subvert them

Take all your ideas, personality, passion, and channel them into a single genre. And grab your genre by the horns.

Writing short films means picking a genre and sticking to it.

Even the world’s best filmmakers run into trouble when they fail to stick to one genre. The Coen brothers are objectively, subjectively, collectively brilliant.

But Hail, Caesar! tanked in every way. What genre is it? Comedy? Thriller? Gladiator movie? Drama? Political satire? 1950s period piece?

The answer is, “Well, yeah, I guess, sort of,” to all of those questions.

Short Film - Writing Short Films - Short Film Ideas - StudioBinder

Writing short films: pick your genre and chomp at it!

So what we’re saying is:

Pick one and only one genre. Whether it’s romance, horror, comedy, or drama, the choice is yours.

Then go ahead and write your short film within the confines of your genre. The 2013 short film Lights Out knows its genre, and owns it.

This three-minute horror film led directly to a feature film career for writer and director David F. Sandberg.

Lights Out , it’s horror.

Pro Tips for Dialogue →
Crowdfunding Movies →
Write Like the Coen Brothers →

How to write short films

5. keep your short...short.

As mentioned above, a short film is any film less than 40-45 minutes long. If you want to get noticed, your short film needs to come in under 10 minutes. Ideally in within 5-10 minute range.

The shorter the better.

As our short screenplay example, the entire script for The Door comes in at a tight five pages. Read the whole script in a matter of minutes, and get a lesson in pithy, emotional storytelling, right here:

Keep it short when writing short films

If you’re writing short films that go longer than 30 pages in length, then you might be better served turning that material into something else.

A feature. A TV pilot script . We’ll explore this in the next few sections.

You have to show the world that you can create emotion, make a connection, and tell a story in a just a few minutes. Be your own filmmaking SWAT team: get in, get out. Quick strike.

Also, short film festivals prefer to program as many shorts as possible. A five-minute short film chews up less screen time than a 40-minute “short.”

You’re more likely to get into festivals if you make short movies that are actually short. In The Elevator , a character goes on a complete journey in three-and-a-half minutes.

The Elevator (2010)

6. don't try to write a feature.

Writing a short film can lead to making a feature. Absolutely. But only if your short film is a short film.

A complete story that stands on its own. Not the opening three minutes of your dream feature.

If your story would truly be the best version of what it can be as a feature-length film, then write a feature screenplay. Or, find inspiration in a particular element, moment, or feeling in your story. From there, grow it into a compelling, fully realized stand-alone short film.

Don’t try to sneak a feature into a short. It won’t work.

Wes Anderson gave the world a 13-minute black-and-white Bottle Rocket before making the full-length version.

Bottle Rocket was originally a short film

Directors such as Damien Chazelle and Neill Blomkamp have made short films that wound up as features.

Chazelle’s little Whiplash grew into big Whiplash . Blomkamp expanded his five-minute Alive in Joburg into District 9 .

In these cases, the filmmakers devoted time and energy to writing short films that stood on their own. They’re emotional, funny, dramatic, engaging short films independent of the features they spawned.

The short movies are real movies. They tell complete stories. They have closure. Anything less and you don’t have a short film.

You have a proof of concept.

PROOF OF CONCEPT DEFINITION

What is a proof of concept.

A proof of concept is any method of pre-visualization or realization of a project before the actual needs for creation have been met.

A proof of concept can be a sizzle reel, mood board, animatic, or storyboard that demonstrates the feasibility of the project being presented. A proof of concept can be as true to fruition as resources allow.

Nothing wrong with a proof of concept. But they serve different functions than short films.

Are producers or film sales agents ready to commit to your project, but first they need to see what it’ll look like? Do investors require test footage before they’ll shell out? Is Denzel Washington ready to star, but only if you can better convey the film you’re pitching to him?

This is where a proof of concept comes in.

If this sounds like the right step for you, look into making a sizzle reel :

Learn about a proof of concept in our FREE TV Writing & Development Masterclass • Subscribe on YouTube

It’s part of a free seven-episode TV writing masterclass that can help you break out from the pack and get your idea onto the small screen. Although the series focuses on television, nearly all of the concepts are applicable to your short film. Then decide how it can be leveraged into a bigger project (if you package it carefully).

Check out this Whiplash short. Even if it had never evolved into an Oscar-winning feature, this short film would still be worth your time.

Before you make it into a feature, be sure to write a short film.

Short film spotlight, 7. determine the best format.

That short film idea of yours might be bigger than a short film.

Writing a short film and having trouble ending it? Are there several other connected stories that this one inspires? Is your lead character so dynamic that he or she wants to do and say more?

Maybe, just maybe, this is not a short film. If you really do have more of this story to tell, it could be an opportunity to turn it into a pilot script and/or a show bible .

If you have the makings a short film story that could be developed into an entire series... stranger things ...have definitely happened in Hollywood.

South Park was a short film was made as a video Christmas card in 1992 called The Spirit of Christmas . It became one of the longest-running programs, animated or otherwise, in TV history.

How to Write a Memorable TV Pilot Script →
FREE Download: TV Show Bible Template →
Write Stronger Characters [with FREE Worksheet] →

TIPS FOR WRITING A SHORT FILM

8. tell a stand-alone story.

You might want to make your short film YouTube friendly. You might be writing short films to submit to festivals. Whatever your goal, the work needs to stand on its own.

The list of Oscar-winning live action shorts, and animated shorts for that matter, all have one thing in common:

They tell a concise and cohesive story that ends when the credits roll. They don’t leave the viewers hanging with unanswered questions (unless that’s the point of the story).

Put yourself in the theater as an audience member. What would satisfy you in a story? An emotional connection, a compelling character arc , an interesting character — and closure.

If you’re writing short films that wrap up and don’t leave viewers scratching their heads for all the wrong reasons, you’re doing it right.

The Desk is a prime example. This short film stands on its own, and satisfies.

The Desk is one of the best short films

Craft Strong Character Arcs →
How to Write a Winning Spec Script →
Production Software for Indie Filmmakers →

WATCHING AND WRITING SHORT FILMS

9. watch short films.

If you want clean teeth, you have to brush every day. If you want to be a professional bodybuilder, you’ve got to hit the weight room.

Likewise, if you want to succeed writing short films, the good news is you have to watch a lot of them. You’ll be entertained. Thrilled. Moved.

And you’ll also absorb knowledge and discover filmmaking techniques by seeing the work of others.

You can find a lot of the best short films on Netflix. Oscar short films always make for excellent viewing, as do Sundance short films. The best short films on YouTube are worth exploring as well.

Watch several short movies every week. You can even keep track and pick your favorite short of the week — then share it with your friends.

Maybe even start a “short of the week” club on social media, and you’ll get access to high-quality short films curated by people you know and trust.

We’ve gathered a few of the best short films to get you started right now.

These short movies vary in genre and style. They’re all effective.

Text Me (2013) - one of the best short films on YouTube

As you can see, the rules for writing short films are all on display in these examples. They keep it simple, the premises are unique, the genres identifiable, and the stories have a beginning, middle, and end. They’re also all short films: no 40-minute monsters here.

And here's a stellar animated short film called Routine :

Routine (2017) - a fascinating animated short film.

Animated short films are, in some ways, a different animal when compared to live action. They even have a separate category in the Academy Awards. But when writing a short film, watching animated shorts can provide a lot of imaginative takeaways.

Here’s one more short film as a parting farewell.

Alone - it’s the end of the world, and short films, as we know it.

Before writing your short film:, understand proper script formatting.

After understanding the rules behind writing a short film, it's time to actually put your words on the page. But before you actually start writing your screenplay, you'll need to look at proper screenplay formatting .

You can use free screenplay templates on Google Docs , use Final Draft, or StudioBinder's screenwriting software to create your short film screenplay.

View how you should format your screenplay

How to convert a short story into a script.

Now that you’ve understood the key rules behind writing a short film and screenplay formatting, it's time to understand to convert your short story into an actual script.

Up Next: How to Convert a Short Story into a Script →

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100 Greatest Short Films of All Time

Luis Buñuel, Pierre Batcheff, Salvador Dalí, Jaume Miravitlles, Simone Mareuil, and Fano Messan in Un chien andalou (1929)

1. Un chien andalou

Maya Deren in Meshes of the Afternoon (1943)

2. Meshes of the Afternoon

3. La Jetée

4. A Trip to the Moon

5. Duck Amuck

6. Zero for Conduct

Pascal Lamorisse in The Red Balloon (1956)

7. The Red Balloon

8. Night and Fog

9. A Day in the Country

10. Scorpio Rising

11. The Tale of Tales

Justus D. Barnes in The Great Train Robbery (1903)

12. The Great Train Robbery

13. Mothlight

14. Las Hurdes

15. Rose Hobart

16. The House Is Black

17. Outer Space

18. Simon of the Desert

19. The Man Who Planted Trees

20. Listen to Britain

21. Dimensions of Dialogue

Cinematographer Mikhail Vartanov and Artavazd Peleshian during the filming of the Seasons of the Year (1975)

22. Four Seasons

Mel Blanc and Arthur Q. Bryan in What's Opera, Doc? (1957)

23. What's Opera, Doc?

24. The Arrival of a Train

25. Unsere Afrikareise

The Act of Seeing with One's Own Eyes (1971)

26. The Act of Seeing with One's Own Eyes

27. Song of Love

28. Arnulf Rainer

29. The Hand

30. The Mad Masters

31. Rainbow Dance

32. Blood of the Beasts

33. Valentin de las Sierras

34. Occurrence at Owl Creek Bridge

35. Powers of Ten

37. Little Stabs at Happiness

38. Lucifer Rising

39. Street of Crocodiles

40. Easy Street

41. Window Water Baby Moving

42. Fireworks

44. A Diary for Timothy

Oliver Hardy and Stan Laurel in The Music Box (1932)

45. The Music Box

47. Hapax Legomena I: Nostalgia

Wallace & Gromit: The Wrong Trousers (1993)

48. Wallace & Gromit: The Wrong Trousers

49. At Land

50. Hôtel des Invalides

Superstar: The Karen Carpenter Story (1987)

51. Superstar: The Karen Carpenter Story

52. A Movie

53. All the Memory in the World

54. the end.

55. La morte rouge

56. A Corner in Wheat

57. Hold Me While I'm Naked

58. Entr'acte

59. Puissance de la parole

60. Statues also Die

61. An Impossible Voyage

62. 79 primaveras

63. Eine murul

64. Night Mail

65. The Heart of the World

66. Puce Moment

67. King-Size Canary

Lillian Gish and Elmer Booth in The Musketeers of Pig Alley (1912)

68. The Musketeers of Pig Alley

70. Gertie the Dinosaur

71. Leaving the Factory

Charles Chaplin and Edna Purviance in The Immigrant (1917)

72. The Immigrant

73. Schwechater

74. À Propos de Nice

Ly Abdoulay and Albourah in Borom sarret (1963)

75. Borom sarret

76. The Seashell and the Clergyman

77. Free Radicals

78. The Land Beyond the Sunset

79. Ménilmontant

80. Father and Daughter

81. Bullet Piercing a Soap Bubble

82. 15/67: TV

Reassemblage: From the Firelight to the Screen (1983)

83. Reassemblage: From the Firelight to the Screen

84. Ritual in Transfigured Time

86. A Girl's Own Story

87. Mass for the Dakota Sioux

89. All My Life

Instructions for a Light and Sound Machine (2005)

90. Instructions for a Light and Sound Machine

91. Toss Me a Dime

93. How a Mosquito Operates

94. The Way Things Go

95. Ballet mécanique

96. Anticipation of the Night

98. Tunneling the English Channel

Jean Paul Ladouceur and Grant Munro in Neighbours (1952)

99. Neighbours

100. Water-Mirror of Granada

More to explore, recently viewed.

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Essays on Movies

Essays about movies play a significant role in exploring the world of cinema, its impact on culture, society, and the art of storytelling. The purpose of such essays is to analyze the visual, narrative, and thematic elements of films, as well as to discuss the influence of movies on our perceptions, emotions, and perspectives. By delving into the magic of cinema, these essays contribute to a deeper appreciation of film as an art form, a reflection of society, and a source of entertainment and thought-provoking content.

Short Essays on Movies: Quick Insights

If you’re pressed for time but still yearn for knowledge, our short essays on movies are tailored to provide concise yet insightful explorations of film-related subjects. From dissecting the symbolism in a single scene to discussing the evolution of special effects, these short essays offer a quick way to expand your cinematic horizons.

In need of inspiration for your own writing? Our examples of essays about movies offer a wealth of ideas. Whether you’re composing an essay about movies that shaped a generation, the evolution of film genres, or the impact of digital technology on cinema, our collection provides a rich source of inspiration.

Explore essays that delve into the narrative techniques of your favorite films or analyze how filmmakers use visual storytelling to convey complex emotions. From the classics to contemporary blockbusters, our essays cover a wide spectrum of movies, ensuring that there’s something for everyone.

Cinderella Man Movie Summary

"Cinderella Man," directed by Ron Howard and released in 2005, is a compelling and heartwarming film that portrays the true story of boxer James J. Braddock during the Great Depression. Set against the backdrop of economic hardship, the movie follows Braddock's journey from a once-successful...

Movie Viewing: at Home Vs. Theater

The choice between watching a movie at home and going to a theater has become a significant part of modern entertainment decisions. With technological advancements and changing preferences, individuals have more options than ever for enjoying films. This essay delves deeper into the advantages and...

Review of a Movie I Saw Recently: the Beginning

I recently had the pleasure of watching Christopher Nolan's "Inception," released in 2010. This mind-bending science fiction thriller takes audiences on a journey into the world of dreams and subconscious manipulation. Starring Leonardo DiCaprio and directed by Nolan, the film has captivated audiences, including myself,...

"Do the Right Thing": Exploring Themes of Race and Social Injustice

Spike Lee's iconic film, "Do the Right Thing," released in 1989, remains a powerful and thought-provoking examination of racial tension and social injustice in America. Set in the sweltering heat of a Brooklyn neighborhood, the film unfolds over a single day, portraying the interactions among...

"The Hunger Games": Katniss and Peeta Relationship

The Hunger Games, authored by Suzanne Collins, is a dystopian novel that has captivated readers worldwide. One of its central themes is the evolving relationship between the main characters, Katniss Everdeen and Peeta Mellark. This essay delves into the intricacies of their relationship, exploring its...

"The Social Dilemma": Unpacking the Impact of Social Media

The Social Dilemma is a thought-provoking documentary-drama hybrid film that delves into the hidden mechanisms and consequences of social media platforms. Released in 2020, this film provides a sobering analysis of how social media algorithms, user data, and digital addiction are reshaping our societies. In...

"Contagion" Movie Summary: Unraveling a Global Pandemic

"Contagion," directed by Steven Soderbergh, presents a gripping portrayal of a global pandemic and its far-reaching consequences. Set against the backdrop of a rapidly spreading virus, the film explores the intricate web of human interactions, scientific investigation, and governmental response in the face of an...

Park Avenue: Money, Power, and the American Dream

The American Dream, often associated with the promise of equal opportunity and upward mobility, is a quintessential notion that has shaped the aspirations of countless individuals. However, the documentary "Park Avenue: Money, Power, and the American Dream" directed by Alex Gibney challenges the conventional understanding...

The Significance of Tradition in "Like Water for Chocolate"

In Laura Esquivel's novel "Like Water for Chocolate," tradition serves as a powerful undercurrent, intricately weaving itself into the fabric of characters' lives and propelling the narrative's momentum. The novel's profound exploration of tradition vividly reveals its dual nature – how it can simultaneously bestow...

Exploring the Fascination: Stephen King's "Why We Crave Horror Movies"

Stephen King, a master of the horror genre, delves into the intriguing topic of our fascination with horror movies in his essay "Why We Crave Horror Movies." This essay offers a unique perspective on the psychological, social, and cultural aspects that contribute to our enduring...

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Miss Representation
Film Analysis
Pearl Harbor (Movie)
Looking For Alibrandi
The Breadwinner
Donnie Darko
Finding Nemo
Game of Thrones
The Great Dictator
Groundhog Day
Haunted House
Lone Survivor
Movie Summary
Rabbit Proof Fence
Sweeney Todd
The Blind Side
The Day After Tomorrow
Whale Rider
Why We Fight
Hotel Rwanda
The Green Mile
A Beautiful Mind
Back to The Future
Being There
Bend It Like Beckham
Bowling For Columbine
Boyz N The Hood
Calvin and Hobbes
Chasing Ice
Criminal Minds
Dallas Buyers Club
Dorothea Lange
Erin Brockovich
Fast Fashion
Forrest Gump
Freedom Writers
Full Metal Jacket
Good Will Hunting
Hitchhiker's Guide to The Galaxy
Into The Woods
Kingdom of Heaven
Moulin Rouge
My Big Fat Greek Wedding
Pan's Labyrinth
Pandora's Box
Paranormal Activity
Passion of The Christ
Princess Mononoke
Real Women Have Curves
Reservoir Dogs
Rock and Roll
Run Lola Run
Sons of Anarchy
Spirited Away
Syrian Refugee Crisis
The Avengers
The Big Lebowski
The Future of Food
The House I Live In
The Jungle Book
The Patriot
Wall Street
West Side Story
William Morris
Eric Birling
12 Angry Men
Grizzly Man
Inspector Goole
Me Myself and I
Northern Lights
Remember The Titans
The Sapphires
Willy Loman
Boys and Girls
Bridge to Terabithia
In Pursuit of Happiness
Ready Player One
The Big Short
The Devil Wears Prada
The Martian
The Maze Runner
The Painted Door
The Shining
Battle Royal
The Hunger Games
Do The Right Thing
Movie Review
One Flew Over The Cuckoo's Nest
Supersize Me
Dead Poets Society
Schindler's List
The Boy in The Striped Pajamas
Pornography
The Truman Show
Like Water For Chocolate
Blade Runner
Citizen Kane
Horror Movies
Shawshank Redemption
The Godfather
V For Vendetta
A Clockwork Orange
Inherit The Wind
No Country For Old Men
The Secret Life of Walter Mitty
Interstellar
The Swimmer
American Beauty
Children of Men
City of God
Eternal Sunshine of The Spotless Mind
Ordinary People
Sherlock Holmes
Slumdog Millionaire
Sense and Sensibility
The Princess Bride
Film Editing
Charlie Chaplin
Coach Carter
Jasper Jones
Super Size Me
Django Unchained
Legally Blonde
On The Waterfront
Pretty Woman
Requiem For a Dream
Steven Spielberg
Stranger Than Fiction
The Duchess of Malfi
The Social Network
Alfred Hitchcock
Double Indemnity
Last of The Mohicans
Phantom of The Opera
The Pianist
Indian Horse
World War Z
Documentary
12 Years a Slave
The Breakfast Club
Hidden Figures
Movie Analysis
Pocahontas (Movie)
The Hate U Give

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