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32 Facts About The Movie Thesis

Written by Truda Cleland

Modified & Updated: 18 May 2024

Reviewed by Sherman Smith

"Thesis" is a gripping and thought-provoking film that has captivated audiences worldwide since its release. Directed by Alejandro Amenábar, this Spanish thriller delves into the dark and complex world of academic research, uncovering a web of secrets and mysteries. As we delve into 32 fascinating facts about this compelling movie, we will unravel the intricate layers that make "Thesis" a timeless cinematic masterpiece. From its inception to its impact on the film industry, this article will shed light on the captivating journey of "Thesis" and its enduring influence. Join us as we embark on a captivating exploration of this iconic film, uncovering little-known details and behind-the-scenes insights that will deepen your appreciation for this cinematic gem.

Key Takeaways:

• “Thesis” is a gripping Spanish thriller that explores the dark side of academia, captivating audiences with its intense storyline and thought-provoking themes. It delves into ethical dilemmas in research and the chilling underbelly of society, leaving a lasting impact on viewers.
• Directed by Alejandro Amenábar, “Thesis” follows a student who uncovers a snuff film while researching her thesis, sparking a series of chilling events. The movie garnered commercial success and critical acclaim, solidifying its status as a must-watch thriller that continues to captivate audiences worldwide.

Alejandro Amenábar wrote the screenplay for "Thesis" at the age of 23.

At a remarkably young age, Amenábar exhibited his exceptional talent by crafting the compelling narrative of "Thesis," showcasing his early prowess as a filmmaker.

The movie was released in 1996.

"Thesis" made its debut in 1996, marking the beginning of its enduring impact on the thriller genre.

It explores the sinister aspects of academic research.

The film delves into the dark and often overlooked world of academic research, shedding light on the potential dangers that lurk beneath the pursuit of knowledge.

"Thesis" was a commercial and critical success.

The movie garnered both commercial success and critical acclaim, solidifying its status as a must-watch thriller in the Spanish film industry.

It features a gripping storyline centered around a student's thesis project.

The plot revolves around a student who stumbles upon a snuff film while conducting research for her thesis, setting off a series of chilling events.

The film addresses ethical dilemmas in academia.

"Thesis" confronts ethical quandaries within the academic sphere , prompting viewers to contemplate the moral implications of research and the pursuit of knowledge.

"Thesis" marked Alejandro Amenábar's directorial debut.

Amenábar made a striking entry into the world of directing with "Thesis," showcasing his distinctive style and storytelling prowess from the outset of his career.

The movie received seven Goya Awards nominations.

Its impact on the Spanish film industry was evident as "Thesis" garnered seven nominations at the prestigious Goya Awards , a testament to its cinematic excellence.

"Thesis" won the Goya Award for Best Film.

Amidst stiff competition, the film clinched the esteemed Goya Award for Best Film, solidifying its position as a standout production in the industry.

It offers a chilling portrayal of the underbelly of society.

Through its narrative, "Thesis" offers a chilling glimpse into the darker facets of society, leaving a lasting impression on audiences.

The movie sparked critical discussions about voyeurism and violence.

"Thesis" sparked thought-provoking conversations about voyeurism and violence, prompting viewers to contemplate the implications of these themes within the context of the film.

It showcases the complexities of human nature.

The characters in "Thesis" are intricately woven into the fabric of the storyline, offering a compelling exploration of human nature and its multifaceted dimensions.

The film's cinematography enhances its suspenseful atmosphere.

With masterful cinematography, "Thesis" creates a palpable sense of suspense, immersing viewers in its gripping storyline.

"Thesis" serves as a testament to Alejandro Amenábar's early talent.

Amenábar's directorial debut with "Thesis" showcased his innate storytelling ability and foreshadowed his future success in the film industry.

The movie received international acclaim.

"Thesis" transcended geographical boundaries , earning international acclaim and captivating audiences beyond Spain's borders.

It explores the intersection of academia and crime.

The film skillfully intertwines academic pursuits with criminal elements, crafting a narrative that blurs the lines between scholarly endeavors and perilous realities.

"Thesis" offers a nuanced portrayal of fear and vulnerability.

Through its characters and storyline, the film presents a nuanced exploration of fear and vulnerability, resonating with audiences on a profound level.

It features a compelling female protagonist.

The lead character in "Thesis" is a strong, multidimensional female protagonist, adding depth and complexity to the film's narrative.

The movie confronts the consequences of unchecked ambition.

"Thesis" delves into the repercussions of unchecked ambition, highlighting the potential dangers that arise from unbridled pursuit of success.

It showcases the dark undercurrents of the film industry.

Through its thematic exploration, "Thesis" sheds light on the shadowy undercurrents of the film industry, offering a compelling commentary on its intricacies.

The film's soundtrack enhances its suspenseful ambiance.

With a haunting soundtrack, "Thesis" amplifies its suspenseful ambiance, heightening the emotional impact of pivotal scenes.

"Thesis" prompted critical discourse on the ethics of research.

The film sparked conversations about the ethical considerations surrounding research, prompting viewers to contemplate the ethical dimensions of academic pursuits.

It captivated audiences with its gripping narrative.

"Thesis" captivated audiences with its gripping narrative, drawing viewers into its compelling storyline from start to finish.

The movie's success solidified Alejandro Amenábar's position in the film industry.

"Thesis" served as a launching pad for Amenábar's illustrious career, cementing his status as a formidable talent in the film industry.

It continues to resonate with audiences worldwide.

Decades after its release, "Thesis" continues to resonate with audiences worldwide, attesting to the enduring impact of its narrative.

The film's themes remain relevant in contemporary society.

The themes explored in "Thesis" remain relevant in contemporary society, offering a timeless quality that continues to captivate viewers.

It blends elements of suspense and psychological intrigue.

"Thesis" seamlessly blends elements of suspense and psychological intrigue, crafting a narrative that keeps viewers on the edge of their seats.

The movie's success paved the way for Alejandro Amenábar's future projects.

The acclaim garnered by "Thesis" laid the groundwork for Amenábar's future projects, setting the stage for his continued contributions to the film industry.

It offers a chilling commentary on the human psyche.

Through its storyline, "Thesis" offers a chilling commentary on the complexities of the human psyche, delving into the darker recesses of the mind.

The film's impact reverberates through the thriller genre.

"Thesis" left an indelible mark on the thriller genre, influencing subsequent works and leaving a lasting legacy within the cinematic landscape.

It garnered accolades for its innovative storytelling.

The film received accolades for its innovative storytelling, earning recognition for its unique approach to narrative and thematic exploration.

"Thesis" remains a timeless classic in the realm of thriller cinema.

Decades after its release, "Thesis" stands as a timeless classic in the realm of thriller cinema, captivating audiences with its enduring allure and thought-provoking themes.

Directed by Alejandro Amenábar, "Thesis" is a gripping Spanish thriller that delves into the dark underbelly of academia. The film follows a student who stumbles upon a snuff film while conducting research for her thesis, setting off a series of chilling events. Through its compelling narrative, "Thesis" addresses ethical dilemmas in academia and offers a chilling portrayal of the underbelly of society. The movie garnered both commercial success and critical acclaim, solidifying its status as a must-watch thriller in the Spanish film industry. With its timeless themes and masterful storytelling, "Thesis" continues to captivate audiences worldwide, leaving an indelible mark on the thriller genre.

In conclusion, "Thesis" is a captivating and thought-provoking film that delves into the complexities of human nature and the pursuit of truth. With its gripping storyline, compelling characters, and masterful direction, this movie has left an indelible mark on the world of cinema. Through its exploration of themes such as identity, morality, and the power of knowledge, "Thesis" continues to resonate with audiences, sparking discussions and inspiring critical thinking. Whether you're a fan of suspenseful thrillers or thought-provoking dramas, "Thesis" is a must-watch film that will keep you on the edge of your seat while prompting introspection and contemplation.

Q: What genre does "Thesis" belong to? A: "Thesis" is a psychological thriller that seamlessly blends elements of suspense, mystery, and drama, offering a gripping and intense viewing experience.

Q: Who are the main characters in "Thesis"? A: The main characters in "Thesis" include Angela, Chema, and Bosco, each contributing to the intricate and compelling narrative in their own unique ways.

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Jotted Lines

A Collection Of Essays

Tesis / Thesis (1996 Movie): Summary & Analysis

Summary: .

Film student Ángela is writing her thesis on violence in audiovisual media. At the university, she discovers the body of her thesis director, Prof. Figueroa, who died while watching a video that turns out to be a snuff film. The plot of this psychological thriller unfolds through Ángela’s research on the disappearance of a former classmate, tortured and murdered on tape. Unsure about whom to trust, Ángela is targeted as the next victim as she draws closer to exposing an underground ring of snuff films produced by a fellow student and professor. Set in the 1990s, the film engages a critique of violence in television and film, market forces producing audiovisual media, and voyeuristic desires of audiences, as well as the burgeoning practices of security camera vigilance in public spaces. 

Amenábar’s feature-length debut, a psychological thriller of the intrigue genre about ‘snuff’ film, is in many ways an exploration into the darkest underside of the demand for spectacle in which visual media are produced, whether for television or film. As the film student Ángela pursues research for her thesis on audiovisual violence (‘a daily occurrence in film and television’), her desire to view footage all too graphic to appear in the media is eclipsed by the dangers of exposing an underground ring of snuff films produced in the university. It is this turn from Ángela’s interest in viewing graphic violence to the threat that she herself could become the next victim of a snuff film which structures the narrative for viewers, similarly to the genre of a detective thriller whodunit, in which all relationships outside the family are suspect. The ensuing intrigue confronts viewers with complex questions about spectatorship itself in which the morbid interest in seeing tortured and mutilated bodies censored from the public eye is satisfied by an underground market that must ‘give the audience what it wants to see’, as Professor Castro (one author of the snuff ring) lectures to his film students. In this sense, the notion of desire constructed in the film is understood as a complex, intersecting terrain of psychological, market-driven, and sociocultural factors which generate, at once, the spectator’s libidinal desire to consume censored images, an underground market of snuff film produced in response to the demand for violence, and the gendered roles of the characters as either objects or perpetrators of this violence, among others. The demand for morbid images, in other words, exists within a market economy inseparable from the characters’ fascination with and horror for ‘real’ explicit visual material that is censored or in the case of Ángela’s research subject, conspicuous in the media. 

Notably, it is only once Ángela perceives that she is being pursued as the next victim of the snuff ring, as the very object of filmed violence which both terrifies and intrigues her, that her desire to view graphic images begins to wane, leading her to abandon her research altogether by the end of the film. Nevertheless, Ángela’s ambiguous transformation from a subject who desires to see recorded violence to become herself a target of ‘real’ violence is not entirely clear given that Amenábar constructs desire for his audience in less simplistic terms.1 Viewers are shown images of Ángela peeking through her fingers to catch a glimpse of the filmed horror that so fascinates her, an ambivalence which is evidently more complex in her character’s psychological portrait. For, Ángela also fantasises about a sexual encounter with the suspect Bosco in a disturbing dream sequence which oscillates between Ángela’s terrified resistance to her aggressor, who subdues her in bed with a suggestive phallic switchblade, and her erotic attempt held at knifepoint to seduce Bosco, which could be read as a survival tactic were it not for the director’s choice to portray this scene disturbingly with evident lust. To her horror, a dreaming Ángela realises that she is being filmed during the sex act, as an object of desire targeted for annihilation, which draws a clear parallel for the film’s viewers between woman as object in pornography and the brutal victimisation of the innocent in snuff. This parallel is furthermore reinforced by an earlier shot of the university film catalogue in which hardcore ‘pornography and other films’ (snuff) are categorised and archived together. The dream sequence, along with the late revelation that Ángela has been filmed secretly at home by her co-researcher Chema – a recording in which she caresses and kisses the image of Bosco displayed on the television screen – emphasises the perverse trappings of a desire through which Ángela’s character, unknown to the film’s audience, had demonstrated a conscious, invested sexual interest in the suspect Bosco, caught on tape. The voyeuristic recording likewise exposes her projected desire for simulacrum in the form of images (in film, television), a scene with greater social implications than Ángela’s character portrait alone. Sexual desire is played out similarly in displaced ways among other characters, in Bosco’s attempt to seduce Ángela’s unsuspecting younger sister, in Ángela’s ‘feigned’ kiss with Bosco in order to distance her sister from the suspected assassin, in the alleged jealousy of Bosco’s girlfriend towards Ángela, in Chema’s voyeuristic recording of Ángela, and even between men in Bosco and Chema’s former friendship which remained a secret to Ángela, a suspicious matter when this bond was revealed to her by Bosco’s girlfriend. 

In this sense, Ángela’s confession earlier in the film ‘I don’t like to be recorded’ echoes Amenábar’s recurrent questioning of camera vigilance and its blurred distinction between the public eye and private intimacy, whether subjects are deliberately filmed, as in these scenes, or passively recorded by the university’s security cameras which provide evidence to incriminate Ángela in the discovery of Professor Figueroa’s dead body in the auditorium. Viewers might draw an immediate comparison between the growing presence of security cameras in public space at the time of the film’s release and Amenábar’s critique of camera vigilance, both public and private. Moving beyond this initial assessment, the film also suggests that even when institutional vigilance is justified under the guise of security (i.e., mandated by the university or state), and thereby presumably void of subjective interest, a voyeuristic desire indeed underpins authority and serves to both conserve and usurp it; as viewers will remember, the closed circuit cameras incriminate Ángela, but also film Professor Castro’s suspicious lurking presence in the university film archive before Figueroa’s death. 

In its increasingly muddied distinction between the public and private, intimacy and vigilance, the film also problematises the strict separation between access to mediated (recorded or simulated) violence in the form of images and ‘real violence’ experienced in the first person.2 Viewers are reminded throughout the film that any absolute distinction between the ‘mediated’ and the ‘real’ – whether desire, violent images, or otherwise – is ultimately ungrounded. Ángela asks Chema if he has ever seen a real dead body, which gives way to two interpretations: Chema asserts that he has, in the explicit video recordings he watches with Ángela, and yet to the contrary, for Ángela audiovisual violence is not ‘real’ per se (she argues, ‘not on television, but a real dead body’). From the film’s opening sequence in a train station, in which Ángela approaches the train tracks desiring to view a ‘body split in two’ that is never actually seen (through the camera that occupies her first-person gaze), Amenábar structures the film’s imagery, and at times Ángela’s sight, through similar camerawork that seldom shows significant footage of gore, if at all.3 Instead, the characters’ horror is transmitted to the audience through shots of their expressions when viewing the snuff film and, most importantly, through the viewer’s psychological response when imagining violent images through the use of diegetic and non-diegetic sound, particularly in the victim’s chilling screams for help as she is being tortured. In fact, Amenábar’s choice not to show viewers significant violence or gore, but rather to play on the viewer’s horror by imagining this violence through sound, is perhaps most noteworthy for film students interested in Amenábar’s use of diegetic and non-diegetic sound in conjunction with the full omission of visual information (i.e. established as a motif in the opening sequence with a recorded voice-off which fades to the first frame).4 Chema and Ángela’s tense adventure into the cellar of the university archives, equipped with only a box of matches that must be lit consecutively, also plays with the audience’s ability to see only the duration of each lighted match, interspersed with shots of complete darkness which play upon the viewer’s expectations of surprise in the thriller genre. Such is the nature of Ángela’s psychological, imaginative horror when she chooses not to view the snuff film, at first, but darkens her television screen through the contrast function so that only the audio recording can be heard, which proves disturbing for her character in later scenes, as she listens obsessively to the film’s audio recording on her portable tape recorder. 

Nevertheless, it should be noted that when violent images are shown to the film’s viewers, Amenábar often chooses to demonstrate the characters’ ability to analyse them critically. For, the rapid advances in digital camera technology at the time are what lead Chema and Ángela to deduce the brand of camera used to record the snuff film, through a close analysis of the recording’s image quality, as well as the camera’s date of release and purchase, which would serve as vital information to track down Professor Castro and Bosco as leaders of the snuff ring. Chema and Ángela furthermore provide a ‘close visual reading’ of the quick jump cuts in post-production editing, which aim to delete the victim’s mention of her torturer’s name, allowing them to conclude that the victim knows her murderer. It could be argued that these two fundamental pieces of information, used to crack the case, are derived from the protagonists’ critical analysis of graphic images, providing a similar key to Amenábar’s proposal for his viewers to deconstruct their own relationship to violence with critical reflection. 

One should note that the word morbo used to describe Ángela’s ‘morbid’ desire to view extreme, violent images, is defined in Spanish as both ‘an unhealthy interest in persons or things’ and ‘an attraction to unpleasant events’. In this sense, the film’s dark reflection on spectatorship and the morbid fascination with explicit images in the media may be traced to the film’s release, contemporary to the upsurge in violence in Spanish cinema at the time, noted by Jordan and MorganTamosunas, Klodt, Moreiras-Menor and Tierney, among others, as well as the flourishing of the first private television networks in Spain in the 1990s. Summarised in the market-driven maxim of Professor Castro on the film industry, to provide viewers literally with what they most desire to see, programming in commercial television is largely dependent upon the number of viewers in a given audience share, supported by advertising spots (see Maxwell 1995). It is no surprise that Amenábar closes the film, then, with a sequence of images from a fictitious sensationalist news show, Justice and Law, whose anchor summarises the ‘unbelievable’ and ‘macabre’ story of gruesome murders of disappeared girls found on tape. Framing for her audience that it is ‘not easy for us to show these images,’ the anchor both conditions the viewer’s expectations before seeing the footage (‘and now, the images you’ve been waiting for’) and justifies the broadcast as ‘a document by itself’, unmediated and lacking critical analysis. In this final sequence, the camera shows Chema and Ángela walking through the hallway of a hospital, interspersed with images of patients fixated on the same television broadcast, a suggestive critique of a greater social desire to view violence in televised media, which is not altogether unique to Spain.5 Keeping in mind the film’s potential to question intimacy, vigilance, and the increasingly blurry distinction between the public and private – a more subtle gesture than the explicit nature of extreme violence in the film’s exploration of snuff – one could conclude in this final scene that Amenábar proposes a greater social critique of the production of and desire to consume images in a market-driven economy that jettisons ethical considerations in favour of audience share or box office revenue. In other words, the viewing audience most desires to consume, with morbid fascination, not only violence but voyeurism in which private matters are made public – the form of television programming that defines sensationalist news media and the gossip varieties of popular talk shows that turn the intimate details of private lives into spectacle-driven commodities for mass consumption. After all, perhaps summarised most disturbingly for the film’s viewers, when Ángela kisses the television screen, her secret desire for the assassin is only made public, terrifyingly and intriguingly so for the viewing audience, when caught on tape. 

Notes 

1. As Cristina Moreiras-Menor argues, ‘Lejos … de ser una película que trabaja exclusivamente en torno a la mirada fascinada del sujeto contemporáneo hacia la violencia, Tesis va más allá al exponer tanto su razón, la espectacularización masiva e indiferencia de la realidad, como su origen, la formación del sujeto y la manipulación de su mirada a la realidad a partir de procesos simbólicos de educación asentados fundamentalmente en estructuras de poder (institucionalizadas) que privilegian la espectacularización consumista del lado más sórdido de la naturaleza humana y social’ [Far … from being a film that works exclusively around the fascinated gaze of the contemporary subject towards violence, Tesis goes beyond this to expose both its raison d’être, mass spectacularization and indifference towards reality, and its origin, the formation of the subject and manipulation of the subject’s view of reality from symbolic processes of education seated fundamentally in (institutionalized) structures of power that privilege consumerist spectacularization of human and social nature’s most sordid side.] (Moreiras-Menor 2002: 260). 

2. See Dolores Tierney, ‘The Appeal of the Real in Snuff: Alejandro Amenábar’s Tesis (“Thesis”)’, Spectator – The University of Southern California Journal of Film and Television, Vol. 22, No. 2, Fall 2002, pp. 45–55. 

3. As Amenábar notes, ‘opté por el camino opuesto, mirando hacia el otro lado, a la cara de los actores, jugando con la proyección psicológica del espectador, con lo que no está viendo, con lo que se está imaginando’ [I chose the opposite route, looking the other way, at the actors’ faces, playing with the psychological projection of the viewer, with what one is not seeing, with what one is imagining.] (Marchante 2002: 59). 

4. See Dominique Russell, ‘Sounds like Horror: Alejandro Amenábar’s Thesis on AudioVisual Violence’, Canadian Journal of Film Studies, Vol. 15, No. 2, Fall 2006, pp. 81–95. 

5. See Jason E. Klodt, ‘En el fondo te gusta: Titillation, Desire, and the Spectator’s Gaze in Alejandro Amenábar’s Tesis’, Studies in Hispanic Cinemas, Vol. 4, No. 1, 2007, pp. 3–17. 

Cast and Crew:

[Country: Spain. Production Company: Las Producciones del Escorpión and SOGEPAQ. Director: Alejandro Amenábar. Executive producers: José Luis Cuerda and Emiliano Otegui. Screenwriters: Alejandro Amenábar and Mateo Gil. Cinematographer: Hans Burmann. Music: Alejandro Amenábar and Mariano Marín. Editor: María Elena Sáinz de Rozas. Cast: Ana Torrent (Ángela), Fele Martínez (Chema), Eduardo Noriega (Bosco Herranz), Xabier Elorriaga (Castro), Miguel Picazo (Figueroa), Nieves Herranz (Sena), Rosa Campillo (Yolanda).] 

Further Reading 

Barry Jordan and Rikki Morgan-Tamosunas, Contemporary Spanish Cinema, Manchester University Press, Manchester and New York, 1998. 

Oti Rodríguez Marchante, Amenábar, vocación de intriga, Madrid, Páginas de Espuma, 2002. 

Steven Marsh and Parvati Nair (eds), Gender and Spanish Cinema, Oxford and New York, Berg, 2004. 

Rosanna Maule, ‘Cultural Specificity and Transnational Address in the New Generation of Spanish Film Authors: The Case of Alejandro Amenábar’, in Cristina Sánchez-Conejero (ed.), Spanishness in the Spanish Novel and Cinema of the 20th-21st Century, Newcastle, Cambridge Scholars, 2007, pp. 107–20. 

Richard Maxwell, The Spectacle of Democracy: Spanish Television, Nationalism, and Political Transition, Minneapolis, MN, University of Minneapolis Press, 1995. 

Cristina Moreiras-Menor, Cultura herida: Literatura y cine en la España democrática, Madrid, Ediciones Libertarias, 2002. 

Joan Ramon Resina (ed.), Burning Darkness: A Half Century of Spanish Cinema, Albany, NY, State University of New York Press, 2008. 

Paul Julian Smith, Television in Spain, from Franco to Almodóvar, Woodbridge, UK and Rochester, New York, Tamesis, 2006. 

Source Credits:

The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015.

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Thesis (1996 film)

1996 spanish horror film by alejandro amenábar / from wikipedia, the free encyclopedia, dear wikiwand ai, let's keep it short by simply answering these key questions:.

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Summarize this article for a 10 year old

Thesis ( Spanish: Tesis ) is a 1996 Spanish horror - thriller film . It is the feature debut of director Alejandro Amenábar and was written by Amenábar and Mateo Gil . It stars Ana Torrent , Fele Martínez and Eduardo Noriega . The film won seven Goya Awards including Best Film, Best Original Screenplay and Best Director.

Snuff movies, true-crime TV shows and other forms of violent entertainment figure heavily in restrained thriller about a film student who becomes the star in her own life-or-death drama. Newcomer Alejandro Amenabar provides an inventive plot and a sufficient supply of red herrings. Could click in the international video market with savvy handling.

By Joe Leydon

Film Critic

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Snuff movies, true-crime TV shows and other forms of violent entertainment figure heavily in the plot of “Thesis,” a surprisingly restrained thriller about a film student who becomes the star in her own life-or-death drama. Newcomer Alejandro Amenabar provides an inventive plot and a sufficient supply of red herrings, but fails to sustain suspense in the pic’s draggy second half. Theatrical prospects are iffy. Even so, “Thesis” could click in the international video market with savvy handling.

Ana Torrent is well cast as Angela, a Madrid film student who wants to write her thesis on violence in movies. Her faculty adviser offers to help by searching the university’s archives for violent videos. Unfortunately, he wanders into a secret storage room and picks up an unmarked videocassette, and he’s shocked into a fatal heart attack while viewing the tape.

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Angela discovers her mentor dead in a university screening room. Impulsively, she steals the tape he was watching. At home, she discovers the video is a recording of the torture-murder of a co-ed who disappeared three years earlier.

Rather than alert the police, Angela decides to investigate on her own. She seeks info about violent video from an eccentric classmate, Chema (Fele Martinez), an avid fan of porno and splatter movies. He looks at the snuff video and immediately recognizes that it was shot with a special model of video camera. Just a few days later, Angela spots one of those cameras in the hands of a handsome student, Bosco (Eduardo Noriega), who just happens to know the long-missing co-ed.

Amenabar effectively develops a slow-simmering attraction between Angela and Bosco, slyly hinting that she may be drawn to him because of the danger he possibly represents. Meanwhile, Chema fumes jealously and does a great deal to arouse audience suspicion. Other prime suspects include Castro (Javier Elorriaga), Angela’s new faculty adviser; and Yolanda (Rosa Campillo), Bosco’s possessive girlfriend.

Despite some whopping improbabilities — would snuff movie producers really hide their master tapes in a university storage room? –“Thesis” generates genuine tension. Pic also manages a few pointed comments about the relationship between violence and voyeurism, particularly in a final scene that has the host of a Spanish tabloid TV show warning viewers that they’re about to see a clip from a snuff movie. The viewers appear to be raptly attentive.

Torrent manages the difficult trick of seeming intelligent even when her character does some pretty dumb things. Martinez is aptly ambiguous in his portrayal of the surly Chema.

Hans Burmann’s moody cinematography is a major asset. Other tech values are first-rate.

According to pic’s production notes, Amenabar is, at 23, the youngest feature filmmaker in Spain. It will be interesting to see whether he can fulfill the promise he displays here.

• Production: A Las Productions del Escorpion production. Produced by Jose Luis Cuerda. Executive producer, Emiliano Otegui Piedra. Directed, written by Alejandro Amenabar.
• Crew: Camera (color), Hans Burmann; editor , Maria Elena Saenz De Rozas; music, Amenabar, Mariano Marin; art direction, Wolfgang Burmann; sound (Dolby), Goldstein & Steinberg; assistant director, Walter Prieto. Reviewed at Berlin Film Festival (Panorama), Feb. 16, 1996. Running time: 125 MIN.
• With: Angela ... Ana Torrent Chema ...Fele Martinez Bosco ... Eduardo Noriega Sena ... Nieves Harranz Yolanda ... Rosa Campillo Figueroa ... Miguel Picazo Castro ... Javier Elorriaga

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Beautiful, interesting, incredible cinema.

While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured until death. Soon she discovers that the girl was a former student in her faculty…

The chilling first feature from the master of psychological thrillers, The Others director Alejandro Amenábar, examines society’s insatiable obsession with violent imagery. Located in the sleazy underworld of amateur snuff films, this tense, creepy campus-set thriller is rife with unsettling turns.

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Looking to watch ' Thesis ' in the comfort of your own home? Hunting down a streaming service to buy, rent, download, or watch the Alejandro Amenábar-directed movie via subscription can be a challenge, so we here at Moviefone want to do right by you. Below, you'll find a number of top-tier streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'Thesis' on each platform when they are available. Now, before we get into the nitty-gritty of how you can watch 'Thesis' right now, here are some specifics about the Sogepaq, Las Producciones del Escorpión S.L. horror flick. Released , 'Thesis' stars Ana Torrent , Fele Martínez , Eduardo Noriega , Xabier Elorriaga The movie has a runtime of about 2 hr 5 min, and received a user score of 74 (out of 100) on TMDb, which assembled reviews from 782 knowledgeable users. You probably already know what the movie's about, but just in case... Here's the plot: "While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured to death. Soon she discovers that the girl was a former student at her college..." 'Thesis' is currently available to rent, purchase, or stream via subscription on YouTube, Apple iTunes, and Google Play Movies .

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Film / Tesis

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"My name is Ángela. They are going to kill me."

Tesis ("Thesis") is a 1996 Spanish thriller film.

It tells the story of Ángela, a film student working on her college thesis about violence in movies. When her tutor dies watching a Snuff Film in a secret room of the university's library, Ángela hides the film and enlists the help of Chema, a strange boy in her class with an interest in gore. The appearance of another, enigmatic student named Bosco and the entry of her new tutor will further complicate things, as Ángela tries to uncover the author of the mysterious video.

Tesis was director Alejandro Amenábar's first movie, made while he was himself in college, and was written by Amenabar and Mateo Gil. The movie won seven Goya Awards in 1996, including the award for Best Film, Best Original Screenplay, and Best Director. It stars Ana Torrent as Ángela, Fele Martínez as Chema, and Eduardo Noriega as Bosco.

Tropes that apply to this movie:

• Accidental Murder : Chema kills Castro while trying to disarm him. This convinces him more about not going to police, since he thinks they will just treat him and Ángela as murderers.
• Adults Are Useless : Played with . Ángela flees into a room and closes the door when she sees Bosco at home, presuming that he has broken into. Cue her mother walking in to tell her that she has been talking to her "friend" and he's been waiting for her for a while. However, Ángela never tells her mother anything bad about him, so she cannot be faulted for thinking nothing of him.
• All Girls Want Bad Boys : Ángela is obviously attracted to Bosco from the beginning, despite being introduced to him as a possible Serial Killer of young women, and refuses to report her suspicions until she's sure he's not innocent.
• Alone with the Psycho / I Have You Now, My Pretty : Happens twice to Ángela. First with Castro , before Chema saves her, and then with Bosco .
• Annoying Younger Sibling : Ángela's younger sister nonchalantly blurts the theme of her thesis to Bosco, which makes him easily deduce why Ángela was tailing him, and later goes on a date with him.
• An Arm and a Leg : The killer saws the limbs of his victims while they are alive.
• Asthma Peril : Angela's advisor Figueora dies of an asthma attack caused by the violent horrors he saw on the snuff tape, and provides Angela with her motive to keep looking for whoever filmed it.
• Subverted when it's revealed that he owns the same type of camera .
• Ax-Crazy : Bosco and Castro are both this. They're sadistic and psychopatic killers who loves to tortures and then slaughter woman while filming the act.
• Beard of Evil : Castro has the fullest and best trimmed beard of all characters in the film.
• Big Bad Duumvirate : Bosco and Castro are the main perpetrators of the snuff movies. The former is the masked killer who tortures and butchers the women while the latter is the one filming the scene.
• Betty and Veronica : Chema and Bosco for Ángela, though she presumably ends with neither.
• Boom, Headshot! : The killer finishes his victims with a shot in the mouth before they can die of their injuries as ends happening to the killer himself.
• Brown Note : Ángela's first tutor dies of a heart attack while watching the film. Ángela takes it, but she's reluctant to watch at first and only listens to it.
• Chekhov's Gun : The knife Ángela takes from Bosco's kitchen later saves her from him .
• Cold-Blooded Torture : The killer aims to inflict as much pain as possible before killing his victims. That includes hitting them in the head with a hammer and cutting their limbs with a hacksaw, among other things.
• Dating Catwoman : Ángela is attracted to Bosco, which he exploits right to the end when he tries to distract her by asking the color of his eyes, in an attempt to grab the gun out of her hands.
• Death by Irony / Karmic Death : At the end, Bosco unwittingly records his own death by gunshot in the same place, with the same camera, and with the same gun that he used to commit his murders, and at least part of it is shown on TV for everyone to see.
• Evil Gloating : Both Castro and Bosco go on tirades about what they want to do with Ángela after she uncovers them. Justified ; as snuff filmmakers, they want to scare their victims as much as possible.
• Face Death with Dignity : Though obviously scared beforehand, Angela doesn't sob or try to bargain after she's tied to the killer's chair.
• Gory Discretion Shot : The Snuff Film within the movie is never really shown, only a few glimpses and shots of people reacting to it.
• Ángela starts following Bosco after she sees him with the camera type used to make the snuff movies. He notices and turns back, then starts following Ángela when she tries to act like she wasn't.
• See Death by Irony / Karmic Death above.
• Hypocrite : Ángela is very vocal about her dislike for violence and her disgust for anyone who revels in it, yet every time there's something really violent she can't help herself but to look, and she records the screams from the Snuff Film to listen to them. The film uses this to underline that, regardless of how much society reviles violence, it is inevitably attracted to it.
• MacGuffin : The Snuff Film that 'kills' Ángela's teacher.
• Nightmare Fetishist : Ángela, who tries to look at the dead body at the station and is writing her thesis about violence in film; Chema, who has gore and violent videos and a house decorated with monster motifs; Castro and Bosco, who film snuff movies .
• Police Are Useless : Chema and Ángela refuse to report anything to police until the movie is over. The university's security guards are useless too, leaving without checking on Ángela's first tutor and not realizing he is dead, despite having a security camera on the projection room.
• Poor Communication Kills : Chema can only spell the word "garage" when he tries to warn Ángela about Bosco . This leads Ángela to said garage, where she discovers that it is the place used to film the murders, and she is immediately taken prisoner.
• Psycho Psychologist : Castro is the ringleader of the Snuff film business, responsible of the torture and death of 16 girls. He is also is a Psycologist, and teacher of Audiovisual Psycology. He also advises the students to become sold-offs! . Many people celebrated his death in the cinemas with cheers and joy!
• Red Herring : Ángela discovers that Chema lied about not knowing Bosco beforehand, that he has the camera type used in the murders in his closet, and that he has been following and filming her while she investigated the case without her consent. He's not involved in the crimes.
• Ripped from the Headlines : An obvious take on the 1992 disappearances and murders of the Alcasser Girls, just moved to a film school, and the Conspiracy Theory that they were abducted by snuff movie makers in particular. Similarities include the killer talking about sawing a hand and finishing with a headshot, which was said to have happened to Miriam García (in reality, the hand's bones had been dislocated during decomposition and left accidentally at the scene), and Ángela fearing for her young sister when she sees her talking to Bosco in a disco (the Girls disappeared when they were going to one). Finally, the ending has the people looking forward to Bosco 's death on TV, an obvious reference to the unprecedented exposure and sensationalism of the Alcasser case in the media.
• Serial Killer : The epilogue reveals that Bosco murdered 16 girls and buried them in his property.
• Sibling Rivalry : Played with. Ángela fears for her sister when she sees her talking to Bosco at a disco, but can't share the reasons with her... so she kisses Bosco in front of her.
• Snuff Film : The MacGuffin of the movie.
• Nice Guy : Chema, in contrast to the alluring bad boy Bosco.
• No Social Skills : Chema isn't the most diplomatic person around.
• Stalker with a Crush : Ángela's crush on Bosco doesn't seem very healthy at the end of the movie, and Chema is also one of these, with him stalking Ángela and filming her in her home .
• The Sociopath : The person who filmed the Snuff Film , namely Bosco, and also Castro .
• Take That! : Jorge Castro is famously based in one of Amenábar's college teachers, Antonio Castro, whom Amenábar claimed made him fail his exams due to disagreements. Notably, Antonio fired back at Amenábar in an interview and revealed that the latter never bothered to attend his exams (which Amenábar retorted by claiming he would have surely failed him).
• Tall, Dark, and Handsome : Noriega's Bosco. Not surprising that Ángela develops a crush on him (or that he fully uses it to his advantage).
• Treacherous Advisor : Castro to Ángela. Chema is also discovered to have been hiding information from Ángela and suspected of being the killer at one point, but he genuinely wants to help her.
• The most common criticism of the movie is how stupid it is for the killer to store the snuff movies in a room college library where anyone can walk in at any moment. The whole movie would not have happened if only Castro or Bosco had kept the copies safe in their property.
• Bosco traps Ángela and ties her to a chair, yet misses that she has a literal knife up her sleeve , allowing her to escape.
• We Used to Be Friends : Ángela discovers that Bosco and Chema knew each other beforehand and share an old photo.
• Will They or Won't They? : Ángela flip-flops during the movie between believing Bosco innocent and wanting to clear my name and believing he's the killer and wanting nothing with him because of that .
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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 .
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• Basic concepts of the film Interstellar by Christopher Nolan.
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• Analysis of the movie The Joker .
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• Explore the persuasive techniques used in Henry V .  
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• Compare and analyze the films Midnight Cowboy and McCabe and Mrs. Miller .
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• Analyze the problem of moral choice in the film Gone Baby Gone .
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• Explore the main themes of the film Mean Girls by Mark Walters .
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• Analyze the message of Greg Berlanti’s film Love, Simon .
• Interpret the symbols of the film The Wizard of Oz (1939).
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• 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.

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Essays About Movies: 7 Examples and 5 Writing Prompts

Check out our guide with essays about movies for budding videographers and artistic students. Learn from our helpful list of examples and prompts.

Watching movies is a part of almost everyone’s life. They entertain us, teach us lessons, and even help us socialize by giving us topics to talk about with others. As long as movies have been produced, everyone has patronized them.  Essays about movies  are a great way to learn all about the meaning behind the picture.

Cinema is an art form in itself. The lighting, camera work, and acting in the most widely acclaimed movies are worthy of praise. Furthermore, a movie can be used to send a message, often discussing issues in contemporary society. Movies are entertaining, but more importantly, they are works of art. If you’re interested in this topic, check out our round-up of screenwriters on Instagram .

5 Helpful Essay Examples 

1. the positive effects of movies on human behaviour by ajay rathod, 2. horror movies by emanuel briggs, 3. casablanca – the greatest hollywood movie ever (author unknown).

• 4.  Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

5. Blockbuster movies create booms for tourism — and headaches for locals by Shubhangi Goel

• 6. Moonage Daydream: “Who Is He? What Is He?” by Jonathan Romney
• 7. La Bamba: American Dreaming, Chicano Style by Yolanda Machado

1. My Favorite Movie

2. movies genres, 3. special effects in movies, 4. what do you look for in a movie, 5. the evolution of movies.

“​​Films encourage us to take action. Our favourite characters, superheroes, teach us life lessons. They give us ideas and inspiration to do everything for the better instead of just sitting around, waiting for things to go their way. Films about famous personalities are the perfect way to affect social behaviour positively. Films are a source of knowledge. They can help learn what’s in the trend, find out more about ancient times, or fill out some knowledge gaps.”

In this movie essay, Rathod gives readers three ways watching movies can positively affect us. Movie writers, producers, and directors use their platform to teach viewers life skills, the importance of education, and the contrast between good and evil. Watching movies can also help us improve critical thinking, according to Briggs. Not only do movies entertain us, but they also have many educational benefits. You might also be interested in these  essays about consumerism .

“Many people involving children and adults can effect with their sleeping disturbance and anxiety. Myths, non-realistic, fairy tales could respond differently with being in the real world. Horror movies bring a lot of excitement and entertainment among you and your family. Horror movies can cause physical behavior changes in a person by watching the films. The results of watching horror movies shows that is has really effect people whether you’re an adult, teens, and most likely happens during your childhood.”

In his essay, Briggs acknowledges why people enjoy horror movies so much but warns of their adverse effects on viewers. Most commonly, they cause viewers nightmares, which may cause anxiety and sleep disorders. He focuses on the films’ effects on children, whose more sensitive, less developed brains may respond with worse symptoms, including major trauma. The films can affect all people negatively, but children are the most affected.

“This was the message of Casablanca in late 1942. It was the ideal opportunity for America to utilize its muscles and enter the battle. America was to end up the hesitant gatekeeper of the entire world. The characters of Casablanca, similar to the youthful Americans of the 1960s who stick headed the challenge development, are ‘genuine Americans’ lost in a hostile region, battling to open up another reality.”

In this essay, the author discusses the 1942 film  Casablanca , which is said to be the greatest movie ever made, and explains why it has gotten this reputation. To an extent, the film’s storyline, acting, and even relatability (it was set during World War II) allowed it to shine from its release until the present. It invokes feelings of bravery, passion, and nostalgia, which is why many love the movie. You can also check out these  books about adaption . 

4.   Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

“Lady Jessica is a powerful woman in the original book, yet her interactions with Paul diminish her as he thinks of her as slow of thought. Something we don’t like to see in 2021 — and for a good reason. Every book is a product of its time, and every great storyteller knows how to adapt an old story to a new audience. I believe Villeneuve received a lot of hate from diehard Dune fans for making these changes, but I fully support him.”

Like the previous essay, Cohen reviews a film, in this case, Denis Villeneuve’s  Dune , released in 2021. He praises the film, writing about its accurate portrayal of the epic’s vast, dramatic scale, music, and, interestingly, its ability to portray the characters in a way more palatable to contemporary audiences while staying somewhat faithful to the author’s original vision. Cohen enjoyed the movie thoroughly, saying that the movie did the book justice. 

“Those travelers added around 630 million New Zealand dollars ($437 million) to the country’s economy in 2019 alone, the tourism authority told CNBC. A survey by the tourism board, however, showed that almost one in five Kiwis are worried that the country attracts too many tourists. Overcrowding at tourist spots, lack of infrastructure, road congestion and environmental damage are creating tension between locals and visitors, according to a 2019 report by Tourism New Zealand.”

The locations where successful movies are filmed often become tourist destinations for fans of those movies. Goel writes about how “film tourism” affects the residents of popular filming locations. The environment is sometimes damaged, and the locals are caught off guard. Though this is not always the case, film tourism is detrimental to the residents and ecosystem of these locations. You can also check out these  essays about The Great Gatsby .

6. Moonage Daydream:  “Who Is He? What Is He?” by Jonathan Romney

“Right from the start, Brett Morgen’s  Moonage Daydream  (2022) catches us off guard. It begins with an epigraph musing on Friedrich Nietzsche’s proclamation that “God is dead,” then takes us into deep space and onto the surface of the moon. It then unleashes an image storm of rockets, robots, and star-gazers, and rapid-fire fragments of early silent cinema, 1920s science fiction, fifties cartoons, and sixties and seventies newsreel footage, before lingering on a close-up of glittery varnish on fingernails.” 

Moonage Daydream  is a feature film containing never-before-seen footage of David Bowie. In this essay, Romney delves into the process behind creating the movie and how the footage was captured. It also looks at the director’s approach to creating a structured and cohesive film, which took over two years to plan. This essay looks at how Bowie’s essence was captured and preserved in this movie while displaying the intricacies of his mind.

7. La Bamba:  American Dreaming, Chicano Style by Yolanda Machado

“A traumatic memory, awash in hazy neutral tones, arising as a nightmare. Santo & Johnny’s mournful “Sleep Walk” playing. A sudden death, foreshadowing the passing of a star far too young. The opening sequence of Luis Valdez’s  La Bamba  (1987) feels like it could be from another film—what follows is largely a celebration of life and music.”

La Bamba  is a well-known movie about a teenage Mexican migrant who became a rock ‘n’ roll star. His rise to fame is filled with difficult social dynamics, and the star tragically dies in a plane crash at a young age. In this essay, Machado looks at how the tragic death of the star is presented to the viewer, foreshadowing the passing of the young star before flashing back to the beginning of the star’s career. Machado analyses the storyline and directing style, commenting on the detailed depiction of the young star’s life. It’s an in-depth essay that covers everything from plot to writing style to direction.

5 Prompts for Essays About Movies

Simple and straightforward, write about your favorite movie. Explain its premise, characters, and plot, and elaborate on some of the driving messages and themes behind the film. You should also explain why you enjoy the movie so much: what impact does it have on you? Finally, answer this question in your own words for an engaging piece of writing.

From horror to romance, movies can fall into many categories. Choose one of the main genres in cinema and discuss the characteristics of movies under that category. Explain prevalent themes, symbols, and motifs, and give examples of movies belonging to your chosen genre. For example, horror movies often have underlying themes such as mental health issues, trauma, and relationships falling apart. 

Without a doubt, special effects in movies have improved drastically. Both practical and computer-generated effects produce outstanding, detailed effects to depict situations most would consider unfathomable, such as the vast space battles of the  Star Wars  movies. Write about the development of special effects over the years, citing evidence to support your writing. Be sure to detail key highlights in the history of special effects. 

Movies are always made to be appreciated by viewers, but whether or not they enjoy them varies, depending on their preferences. In your essay, write about what you look for in a “good” movie in terms of plot, characters, dialogue, or anything else. You need not go too in-depth but explain your answers adequately. In your opinion, you can use your favorite movie as an example by writing about the key characteristics that make it a great movie.

From the silent black-and-white movies of the early 1900s to the vivid, high-definition movies of today, times have changed concerning movies. Write about how the film industry has improved over time. If this topic seems too broad, feel free to focus on one aspect, such as cinematography, themes, or acting.

For help with your essays, check out our round-up of the  best essay checkers .

If you’re looking for more ideas, check out our  essays about music topic guide !

Meet Rachael, the editor at Become a Writer Today. With years of experience in the field, she is passionate about language and dedicated to producing high-quality content that engages and informs readers. When she's not editing or writing, you can find her exploring the great outdoors, finding inspiration for her next project.

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Crafting a Powerful Thesis Statement for a Movie Review: Examples and Tips

• backlinkworks
• Writing Articles & Reviews
• October 28, 2023

Introduction

writing a movie review can be an exciting task, but IT requires careful consideration and thought. One of the most important elements of a movie review is the thesis statement, as IT sets the tone and direction for the entire review. In this article, we will explore the process of crafting a powerful thesis statement for a movie review, providing you with helpful examples and tips along the way.

What is a Thesis Statement in a Movie Review?

A thesis statement in a movie review presents the main argument or opinion that you will be discussing and supporting throughout your review. IT typically appears near the end of your introduction and should be clear, concise, and thought-provoking. The thesis statement should provide an overall evaluation or interpretation of the movie, highlighting the key aspects you will be focusing on in your review.

Examples of Powerful Thesis Statements

Let’s now explore some examples of powerful thesis statements to give you a better understanding of how to structure your own. Remember, these examples are not meant to be copied directly but rather to serve as inspiration for crafting your unique thesis statement:

• Example 1: The movie “Inception” explores the convoluted depths of the human mind, challenging our perception of reality and leaving audiences questioning the nature of dreams.
• Example 2: Through its stunning cinematography and emotional storytelling, “The Shawshank Redemption” showcases the resilience of the human spirit and the power of hope in the face of adversity.
• Example 3: In “Black Swan,” the director delves into the dark and obsessive world of ballet, blurring the lines between sanity and insanity, leading to a mesmerizing and haunting cinematic experience.

Tips for Crafting a Powerful Thesis Statement

Now that you’ve seen some examples, let’s dive into some tips to help you craft a powerful thesis statement for your movie review:

• Identify the central theme: Analyze the movie and identify the central theme or message being conveyed. This will serve as the basis for your thesis statement.
• Be specific: Make your thesis statement clear and specific, avoiding vague language or generalizations. This will make your argument more compelling and focused.
• Consider the audience: Think about the intended audience of your review and tailor your thesis statement to resonate with them. Different audiences may have varying expectations or interests.
• Support with evidence: Your thesis statement should be supported by evidence from the movie. Incorporate specific scenes, dialogues, or character developments to strengthen your argument.
• Stay objective: While expressing your personal opinion is essential, ensure that your thesis statement remains objective and balanced. Avoid overly biased language that may detract from the credibility of your review.

Crafting a powerful thesis statement for a movie review is crucial in setting the tone and direction for your review. IT should provide a clear evaluation or interpretation of the movie, supported by evidence and examples. By following the tips outlined in this article and considering the provided examples, you can create a compelling thesis statement that engages your readers and enhances the overall quality of your movie review.

1. Can I include my personal opinion in the thesis statement?

Yes, you can include your personal opinion in the thesis statement, but ensure that IT remains objective and supported by evidence from the movie.

2. Should I mention the title of the movie in my thesis statement?

While IT is not mandatory, IT is recommended to include the title of the movie in your thesis statement to provide clarity and context.

3. How long should my thesis statement be?

A thesis statement should be concise and to the point. Aim for a sentence or two that effectively conveys your main argument.

4. Can I change my thesis statement after writing the review?

Yes, IT is possible to make adjustments to your thesis statement if you feel IT needs refinement or modification based on your analysis and review process.

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

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. ]

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Critic’s Notebook

The Power of the ‘Planet of the Apes’

Why is this long-running film series so gripping and effective? Because it doesn’t monkey around.

By Alissa Wilkinson

When the very first “Planet of the Apes” movie opened in 1968, the movie critic at The Times, Renata Adler, found it unremarkable . “It is no good at all, but fun, at moments, to watch,” she wrote, deeming it an “anti-war film and a science-fiction liberal tract,” with the apes representing “militarism, fascism and police brutality.” It’s probably safe to say she wasn’t expecting it to become one of the longest-running science-fiction franchises in Hollywood history.

I cannot quite blame her — and not just because endless sequels weren’t as ubiquitous as they are today. Watching the 1968 film, you see how close it could have veered toward a quick extinction. At times the whole thing has the quality of a skit. Actors wear monkey suits and masks (“wonderful anthropoid masks,” as Adler put it), and the attempt to draw a parallel between the apes’ civilization and the viewers’ can feel a little clumsy. It’s 1968, so there are winking catchphrases like “you can’t trust the older generation” and “never trust anyone over 30,” slogans that had been adopted by the counterculture. Had I been the reviewer back then, I might have called it “sometimes hamfisted.”

Yet with regrets to Adler, the movie does work on its own terms, and it has held up extraordinarily well over the past 56 years. Charlton Heston stars as the captain of a four-person space crew that crash-lands on a planet that feels unfamiliar, where talking apes rule and humans, such as they are, have been enslaved. (One member of the crew is female, which I suppose was meant to suggest something futuristic; the first American woman didn’t go into space until 15 years after “Planet of the Apes” premiered.)

The movie was based on a 1963 satirical novel by the French author Pierre Boulle, who also wrote the novel “The Bridge on the River Kwai.” Rod Serling, the creator of the wildly popular science-fiction TV show “The Twilight Zone,” was brought on to adapt the book for the screen. Serling’s influence is obvious from the first moments, which involve Heston in monologue about philosophical matters. More time has passed on Earth than in the spacecraft, since they’re moving at the speed of light. “Seen from out here, everything seems different,” he says. “Time bends. Space is boundless. It squashes a man’s ego. I feel lonely.”

“Tell me, though,” he continues. “Does man, that marvel of the universe, that glorious paradox who has sent me to the stars, still make war against his brother, keep his neighbor’s children starving?”

This introduction is a thesis in a thimble for the whole franchise, which combines an intriguing premise — what if apes evolved beyond men — with a host of other social and political concerns. Serling, for instance, purposely injected ideas about the Cold War and nuclear weapons into the film. As Adler noted, police brutality, militarism and fascism also make appearances, a good reminder that our time is hardly unique in those concerns. There are questions about free speech and religious fundamentalism, mythmaking and liberty, technology and scientific study, race, viral pandemics, animal rights and a whole lot more woven throughout the movies.

And there are a lot of movies. In the 1970s, the first “Apes” was followed by four more, plus a live-action TV show, then an animated one. In 2001, an ill-conceived remake directed by Tim Burton starred Mark Wahlberg in a version of the Heston role, and then a reboot series followed, starting in 2011. There have also been several “Apes” video games.

That reboot trilogy — “Rise of the Planet of the Apes” (2011), “Dawn of the Planet of the Apes” (2014) and “War for the Planet of the Apes” (2017) — is widely considered some of the best franchise cinema ever, and I heartily concur. The trilogy posits that a cure for Alzheimer’s developed by humans had grave unintended consequences when it escaped its lab: It turned apes supersmart, but had the opposite effect on humans, killing vast swaths of the population and then mutating to turn most of humanity mute and less intelligent. A saga then follows in which the human characters change (none repeat across the three films) but the apes do not; they’re the main characters, and it’s their story. It’s masterful.

Sometimes this opinion surprises people. Really? The movies with the apes?

Yes, really. Part of the reason the films succeed is simply their artistry, especially notable in bigger-budget blockbuster fare. We’ve gotten used to rushed, sloppy action and muddy cinematography, so there’s something invigorating in seeing detail, emotion, shadow and rich color that feels real. It’s all led by Andy Serkis’s compelling and dynamic motion-capture performance as Caesar, leader of the apes. (He’s so good that it sparked a mini-movement for an Oscar nomination.)

Serkis, as Caesar, speaks and emotes with the kind of gravitas that we associate with people playing world-historical leaders — which, in a sense, is what he is doing. But that also points to part of why this trilogy, and indeed the entire “Apes” series, is so gripping: It is serious.

Serious, in the sense that it takes its characters seriously. Each has a personality and genuine emotions, and when they mourn, we mourn too. But serious also in the import of the issues at hand, spun throughout stories that are intriguing and grim. There’s a sense of grief in every “Apes” movie, and in the reboot trilogy it’s almost palpable. (I’m pretty sure Steve Zahn’s “Bad Ape” character was a studio addition to lighten the mood in “War,” and while he starts to veer a little Jar Jar Binks-ward, the director Matt Reeves manages to hold it all together.)

Why do these films grieve? It’s not about the lost world of humans, not really — it’s always been clear, even from the famous conclusion of the 1968 film, that humanity has only itself and its hubris to blame for its own destruction. Instead, the grief stems from the very issues that the films raise — the fascism, the nuclear war, the brutality — and the deep pessimism of the series about those issues ever being eradicated for long.

Apocalyptic films are increasingly obsessed with a question posed to the viewer, similar to Heston’s query at the start of “Planet of the Apes”: In light of humanity’s treatment of the planet and of one another, does the species really deserve to survive? Most of the time, the movie comes up with a way to say yes (most expensively, in “Avengers: Endgame”).

But the “Apes” movies (so far) say no, not really. Since they’ve shifted focus from humans to the apes that replace them, that works. Even in the newest installment, “Kingdom of the Planet of the Apes,” the humans who show up are not presented as heroes or even particularly worthy defenders of their own species.

Yet, as “Kingdom” also reveals, the “Apes” movies aren’t so sure that any other sentient, reasoning species will be better. Though Caesar taught a way of living that would produce more harmony and protect the planet, in “Kingdom” we already see power-hungry apes reproducing the sins of humanity, finding ways to perpetuate oppression and repression.

The 1968 film is set many centuries after the reboot trilogy and “Kingdom,” so we already know where things are headed, and it’s not great. That may be part of why the “Apes” movies have resonated for so long, across so many moviegoing decades. They are telling a truth in science fiction that’s hard to face in reality: There’s no perfect way to run a civilization, no way to fix things forever, no teacher so profound that their words won’t be twisted for someone else’s gain. Every generation has its own struggles and saints — and there is nothing new under the sun.

An earlier version of this article misstated the number of years between the premiere of “Planet of the Apes” and the first American woman heading into space. It was 15 years, not 25.

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Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson