the film i like best essay

Short Essay on the Movie I Like Most

• March 5, 2019
• No Comments

The following movie review is provided by a professional academic writer from a short essay writing service which helps students with academic writing. Watching a movie is a pastime that plenty of people across the world really enjoy. While many people prefer to watch their movies on the big screen at the cinema, advancements in technology enable us to stream movies at home or on the go. The cinema, as well as our mobile or tablet devices, have made it easy for us to see some documentaries and stories portrayed on screen.

Personally, the cinema is the place to be when it comes to watching a movie due to the big screen and amazing sound. The one movie that stands out in my mind, as well as the minds of many people that I like most, is “Titanic”.  This movie does not only tell us what happened on 15 April 1912, but it also features some of the best actings I have ever seen.

It is a captivating and incredibly produced movie that is seen as a classic till this very day. Many people across the world have heard of this movie in some way shape or form because of its historical references. Released way back in 1997, James Cameron’s “Titanic” is a movie that successfully tells an emotional love story of two people who bumped into each other on board the ship.

The story follows lovebirds Jack Dawson, played by Leonardo DiCaprio and Rose Bukater, played by Kate Winslet. The ship was sailing from the south coast of England, heading to America. Jack and Rose come from two very different social classes but nothing stopped their love from blossoming.

Jack comes from a very poor background and is a struggling article while Rose is a beautiful woman married to a rich man who does not her. This movie brought to life a relationship that is present in this day and age. It is possible now for a young lady from a wealthy background to wed a man who comes from a poor background if they love each other so much.

The movie proves that love can indeed be found anywhere in this world, even on a ship as big as the Titanic. Leonardo DiCaprio and Kate Winslet had amazing chemistry which is clear to see especially when they shared screen time. One amazing moment in the movie is when the crew on the ship are drawn to the two teenage lovers making love.

By diverting their attention to them, no one is paying attention to the ship and it hits an iceberg. The horrible death of over 1500 people onboard the ship as well as the efforts to save as many people as possible is what makes this movie amazing. While the ship is sinking and Rose on board a life board with her mother, she decides life cannot go without Jack and jumps back onto the sinking ship.

When they two love bird eventually get united, there are no lifeboats left on the ship and passengers are dying all around them. As the ship falls apart, Jack helps Rose get on a wooden panel that can only hold one person to prevent her from drowning. In one of the most powerful scenes ever captures, he tells her she will die an old woman and Jack pays the ultimate price at the end.

He dies of hypothermia for being in the cold icy water for too long thus sacrificing his own life and saving Kate. Seeing and hearing Kate say “come back, come back” to Jack knowing her lover has passed away is one of the most emotional and touching scenes I have ever seen. It is a scene that not only brings tears to my eyes but the eyes of everyone who watches it play out.

You cannot help but feel for the poor lover especially Jack who loses his life. The reason is you become emotionally attached to Jack and Rose, their love story, their rebellious nature and to see a tragic ending like this is heartbreaking. A lot of credit has to go to the actors, writers, director, composers, and producers of this amazing film.

The script, the music and camera angles were all on point and tell a story that is experienced today. It comes as no surprise to see that the movie was well received by both critics and fans when it was released. The Titanic was a ship that cannot be sunk according to various allegations and not even God could sink it.

What I love about this film from the first time I watched it is I wanted to know if this is the case. Is the Titanic really a boat that cannot be sunk by God or any other force of nature. There are not many movies out there that can captivate an audience the same way that “Titanic” has. This movie is a timeless classic, a masterpiece and has a special place in my heart.

It is till this day remains one of my favorite movie ever made and the 5 th highest grossing movie of all time in the USA and Canada. The movie has won 4 golden globe awards for best original song, best motion picture drama, best original score, and nest direction. It was nominated for an amazing 10 BAFTA awards however, it didn’t win any which came as a surprise to many people.

• Roper, G. (2017) The History of the Book in the Middle East. Routledge. 39 – 76
• Arsan, A. (2015) The Routledge Handbook of the History of the Middle East Mandates. Routledge. 31 – 41
• Choueiri, Y. (2008) A Companion to the History of the Middle East. John Wiley & Sons. 51 – 67
• Cronin, S. (2012) Subalterns and Social Protest: History from Below in the Middle East and North Africa. Routledge. 35 – 46
• Nisan, M. (2015) Minorities in the Middle East: A History of Struggle and Self-Expression, 2d ed. McFarland. 5 – 12
• Cleveland, W (2010) History of the Modern Middle East. ReadHowYouWant.com. 67 – 72
• Dumper, M (2007) Cities of the Middle East and North Africa: A Historical Encyclopedia. ABC-CLIO. 87 – 100

More Like This

Add a comment cancel reply.

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

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

Latest Posts

• February 7, 2022

• November 23, 2021

• October 9, 2021

Recent Posts

• How to Stay Warm When Camping During The Winter?
• The State Of Online Gaming In 2021
• Is Your Lifestyle Cause For Concern?
• Is A Small Business Venture In The Cards?
• Let The Internet Help You With Lifestyle Choices
• February 2022
• November 2021
• October 2021
• February 2021
• January 2021
• December 2020
• November 2020
• October 2020
• August 2020
• February 2020
• January 2020
• December 2019
• November 2019
• October 2019
• September 2019
• February 2019
• January 2019
• December 2018
• November 2018
• October 2018
• September 2018
• August 2018
• February 2018
• January 2018
• December 2017
• November 2017
• October 2017
• September 2017
• August 2017
• February 2017
• January 2017
• Everything Else
• Home & Garden
• Contact YGR

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

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

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

❓ What Is a Film Analysis Essay?

• 🚦 Film Analysis Types

📽️ Movie Analysis Format

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

• 📄 Essay Examples

🔗 References

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

🚦 Film Analysis Essay Types

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

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

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

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

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

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

Starting Your Film Analysis Essay

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

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

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

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

Making a Film Analysis Essay Outline

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

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

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

Writing & Editing Your Film Analysis Essay

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

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

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

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

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

KING: It’s for the best.

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

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

Introduction

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

📄 Film Analysis Examples

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

Film Analysis Example #1: The Intouchables

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

Movie Analysis Example #2: Parasite

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

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

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

Film Analysis Essay FAQ

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

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

Here is a possible step by step scenario:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EXCELENT COVERAGE!

Hi Rebecca,

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

All the best.

Film Analysis: Example, Format, and Outline + Topics & Prompts

Films are never just films. Instead, they are influential works of art that can evoke a wide range of emotions, spark meaningful conversations, and provide insightful commentary on society and culture. As a student, you may be tasked with writing a film analysis essay, which requires you to delve deeper into the characters and themes. But where do you start?

In this article, our expert team has explored strategies for writing a successful film analysis essay. From prompts for this assignment to an excellent movie analysis example, we’ll provide you with everything you need to craft an insightful film analysis paper.

• 📽️ Film Analysis Definition

📚 Types of Film Analysis

• ✍️ How to Write Film Analysis
• 🎞️ Movie Analysis Prompts
• 🎬 Top 15 Topics

📝 Film Analysis Example

• 🍿 More Examples

🔗 References

📽️ what is a film analysis essay.

A film analysis essay is a type of academic writing that critically examines a film, its themes, characters, and techniques used by the filmmaker. This essay aims to analyze the film’s meaning, message, and artistic elements and explain its cultural, social, and historical significance. It typically requires a writer to pay closer attention to aspects such as cinematography, editing, sound, and narrative structure.

Film Analysis vs Film Review

It’s common to confuse a film analysis with a film review, though these are two different types of writing. A film analysis paper focuses on the film’s narrative, sound, editing, and other elements. This essay aims to explore the film’s themes, symbolism , and underlying messages and to provide an in-depth interpretation of the film.

On the other hand, a film review is a brief evaluation of a film that provides the writer’s overall opinion of the movie. It includes the story’s short summary, a description of the acting, direction, and technical aspects, and a recommendation on whether or not the movie is worth watching.

Wondering what you should focus on when writing a movie analysis essay? Here are four main types of film analysis. Check them out!

📋 Film Analysis Format

The movie analysis format follows a typical essay structure, including a title, introduction, thesis statement, body, conclusion, and references.

The most common citation styles used for a film analysis are MLA and Chicago . However, we recommend you consult with your professor for specific guidelines. Remember to cite all dialogue and scene descriptions from the movie to support the analysis. The reference list should include the analyzed film and any external sources mentioned in the essay.

When referring to a specific movie in your paper, you should italicize the film’s name and use the title case. Don’t enclose the title of the movie in quotation marks.

📑 Film Analysis Essay Outline

A compelling film analysis outline is crucial as it helps make the writing process more focused and the content more insightful for the readers. Below, you’ll find the description of the main parts of the movie analysis essay.

Film Analysis Introduction

Many students experience writer’s block because they don’t know how to write an introduction for a film analysis. The truth is that the opening paragraph for a film analysis paper is similar to any other academic essay:

• Start with a hook to grab the reader’s attention . For example, it can be a fascinating fact or a thought-provoking question related to the film.
• Provide background information about the movie . Introduce the film, including its title, director, and release date. Follow this with a brief summary of the film’s plot and main themes.
• End the introduction with an analytical thesis statement . Present the central argument or interpretation that will be explored in the analysis.

Film Analysis Thesis

If you wonder how to write a thesis for a film analysis, we’ve got you! A thesis statement should clearly present your main idea related to the film and provide a roadmap for the rest of the essay. Your thesis should be specific, concise, and focused. In addition, it should be debatable so that others can present a contrasting point of view. Also, make sure it is supported with evidence from the film.

Let’s come up with a film analysis thesis example:

Through a feminist lens, Titanic is a story about Rose’s rebellion against traditional gender roles, showcasing her attempts to assert her autonomy and refusal to conform to societal expectations prevalent in the early 20th century.

Movie Analysis Main Body

Each body paragraph should focus on a specific aspect of the film that supports your main idea. These aspects include themes, characters, narrative devices , or cinematic techniques. You should also provide evidence from the film to support your analysis, such as quotes, scene descriptions, or specific visual or auditory elements.

Here are two things to avoid in body paragraphs:

• Film review . Your analysis should focus on specific movie aspects rather than your opinion of the film.
• Excessive plot summary . While it’s important to provide some context for the analysis, a lengthy plot summary can detract you from your main argument and analysis of the film.

Film Analysis Conclusion

In the conclusion of a movie analysis, restate the thesis statement to remind the reader of the main argument. Additionally, summarize the main points from the body to reinforce the key aspects of the film that were discussed. The conclusion should also provide a final thought or reflection on the film, tying together the analysis and presenting your perspective on its overall meaning.

✍️ How to Write a Film Analysis Essay

Writing a film analysis essay can be challenging since it requires a deep understanding of the film, its themes, and its characters. However, with the right approach, you can create a compelling analysis that offers insight into the film’s meaning and impact. To help you, we’ve prepared a small guide.

1. Understand the Prompt

When approaching a film analysis essay, it is crucial to understand the prompt provided by your professor. For example, suppose your professor asks you to analyze the film from the perspective of Marxist criticism or psychoanalytic film theory . In that case, it is essential to familiarize yourself with these approaches. This may involve studying these theories and identifying how they can be applied to the film.

If your professor did not provide specific guidelines, you will need to choose a film yourself and decide on the aspect you will explore. Whether it is the film’s themes, characters, cinematography, or social context, having a clear focus will help guide your analysis.

2. Watch the Film & Take Notes

Keep your assignment prompt in mind when watching the film for your analysis. For example, if you are analyzing the film from a feminist perspective, you should pay attention to the portrayal of female characters, power dynamics , and gender roles within the film.

As you watch the movie, take notes on key moments, dialogues, and scenes relevant to your analysis. Additionally, keeping track of the timecodes of important scenes can be beneficial, as it allows you to quickly revisit specific moments in the film for further analysis.

3. Develop a Thesis and an Outline

Next, develop a thesis statement for your movie analysis. Identify the central argument or perspective you want to convey about the film. For example, you can focus on the film’s themes, characters, plot, cinematography, or other outstanding aspects. Your thesis statement should clearly present your stance and provide a preview of the points you will discuss in your analysis.

Having created a thesis, you can move on to the outline for an analysis. Write down all the arguments that can support your thesis, logically organize them, and then look for the supporting evidence in the movie.

4. Write Your Movie Analysis

When writing a film analysis paper, try to offer fresh and original ideas on the film that go beyond surface-level observations. If you need some inspiration, have a look at these thought-provoking questions:

• How does the movie evoke emotional responses from the audience through sound, editing, character development , and camera work?
• Is the movie’s setting portrayed in a realistic or stylized manner? What atmosphere or mood does the setting convey to the audience?
• How does the lighting in the movie highlight certain aspects? How does the lighting impact the audience’s perception of the movie’s characters, spaces, or overall mood?
• What role does the music play in the movie? How does it create specific emotional effects for the audience?
• What underlying values or messages does the movie convey? How are these values communicated to the audience?

5. Revise and Proofread

To revise and proofread a film analysis essay, review the content for grammatical, spelling, and punctuation errors. Ensure the paper flows logically and each paragraph contributes to the overall analysis. Remember to double-check that you haven’t missed any in-text citations and have enough evidence and examples from the movie to support your arguments.

Consider seeking feedback from a peer or instructor to get an outside perspective on the essay. Another reader can provide valuable insights and suggestions for improvement.

🎞️ Movie Analysis: Sample Prompts

Now that we’ve covered the essential aspects of a film analysis template, it’s time to choose a topic. Here are some prompts to help you select a film for your analysis.

• Metropolis film analysis essay . When analyzing this movie, you can explore the themes of technology and society or the portrayal of class struggle. You can also focus on symbolism, visual effects, and the influence of German expressionism on the film’s aesthetic.
• The Godfather film analysis essay . An epic crime film, The Godfather , allows you to analyze the themes of power and corruption, the portrayal of family dynamics, and the influence of Italian neorealism on the film’s aesthetic. You can also examine the movie’s historical context and impact on future crime dramas.
• Psycho film analysis essay . Consider exploring the themes of identity and duality, the use of suspense and tension in storytelling, or the portrayal of mental illness. You can also explore the impact of this movie on the horror genre.
• Forrest Gump film analysis essay . If you decide to analyze the Forrest Gump movie, you can focus on the portrayal of historical events. You might also examine the use of nostalgia in storytelling, the character development of the protagonist, and the film’s impact on popular culture and American identity.
• The Great Gatsby film analysis essay . The Great Gatsby is a historical drama film that allows you to analyze the themes of the American Dream, wealth, and class. You can also explore the portrayal of the 1920s Jazz Age and the symbolism of the green light.
• Persepolis film analysis essay . In a Persepolis film analysis essay, you can uncover the themes of identity and self-discovery. You might also consider analyzing the portrayal of the Iranian Revolution and its aftermath, the use of animation as a storytelling device, and the film’s influence on the graphic novel genre.

🎬 Top 15 Film Analysis Essay Topics

• The use of color symbolism in Vertigo and its impact on the narrative.
• The moral ambiguity and human nature in No Country for Old Men .
• The portrayal of ethnicity in Gran Torino and its commentary on cultural stereotypes.
• The cinematography and visual effects in The Hunger Games and their contribution to the dystopian atmosphere.
• The use of silence and sound design in A Quiet Place to immerse the audience.
• The disillusionment and existential crisis in The Graduate and its reflection of the societal norms of the 1960s.
• The themes of sacrifice and patriotism in Casablanca and their relevance to the historical context of World War II.
• The psychological horror in The Shining and its impact on the audience’s experience of fear and tension.
• The exploration of existentialism in Eternal Sunshine of the Spotless Mind .
• Multiple perspectives and unreliable narrators in Rashomon .
• The music and soundtrack in Titanic and its contribution to the film’s emotional resonance.
• The portrayal of good versus evil in the Harry Potter film series and its impact on understanding morality.
• The incorporation of vibrant colors in The Grand Budapest Hotel as a visual motif.
• The use of editing techniques to tell a nonlinear narrative in Pulp Fiction .
• The function of music and score in enhancing the emotional impact in Schindler’s List .

Check out the Get Out film analysis essay we’ve prepared for college and high school students. We hope this movie analysis essay example will inspire you and help you understand the structure of this assignment better.

Film Analysis Essay Introduction Example

Get Out, released in 2017 and directed by Jordan Peele, is a culturally significant horror film that explores themes of racism, identity, and social commentary. The film follows Chris, a young African-American man, visiting his white girlfriend’s family for the weekend. This essay will analyze how, through its masterful storytelling, clever use of symbolism, and thought-provoking narrative, Get Out reveals the insidious nature of racism in modern America.

Film Analysis Body Paragraphs Example

Throughout the movie, Chris’s character is subject to various types of microaggression and subtle forms of discrimination. These instances highlight the insidious nature of racism, showing how it can exist even in seemingly progressive environments. For example, during Chris’s visit to his white girlfriend’s family, the parents continuously make racially insensitive comments, expressing their admiration for black physical attributes and suggesting a fascination bordering on fetishization. This sheds light on some individuals’ objectification and exotification of black bodies.

Get Out also critiques the performative allyship of white liberals who claim to be accepting and supportive of the black community. It is evident in the character of Rose’s father, who proclaims: “I would have voted for Obama for a third term if I could” (Peele, 2017). However, the film exposes how this apparent acceptance can mask hidden prejudices and manipulation.

Film Analysis Conclusion Example

In conclusion, the film Get Out provides a searing critique of racial discrimination and white supremacy through its compelling narrative, brilliant performances, and skillful direction. By exploring the themes of the insidious nature of racism, fetishization, and performative allyship, Get Out not only entertains but also challenges viewers to reflect on their own biases.

🍿 More Film Analysis Examples

• Social Psychology Theories in The Experiment
• Anakin Skywalker/Darth Vader: George Lukas’s Star Wars Review
• Girl, Interrupted : Mental Illness Analysis
• Mental Disorders in the Finding Nemo Film
• One Flew Over the Cuckoo’s Nest Film: Interpretive Psychological Analysis
• Analysis of Spielberg’s Film Lincoln
• Glory – The Drama Movie by Edward Zwick
• Inventors in The Men Who Built America Series
• Crash Movie: Racism as a Theme
• Dances with Wolves Essay – Movie Analysis
• Superbad by G. Mottola
• Ordinary People Analysis and Maslow Hierarchy of Needs
• A Review of the Movie An Inconvenient Truth by Guggenheim
• Chaplin’s Modern Times and H.G. Wells’s The Island of Dr. Moreau
• Misé-En-Scene and Camera Shots in The King’s Speech
• Children’s Sexuality in the Out in the Dark Film
• Chinese and American Women in Joy Luck Club Novel and Film
• The Film Silver Linings Playbook by Russell
• The Role of Music in the Films The Hours and The Third Man
• The Social Network : Film Analysis
• My Neighbor Totoro : Film by Hayao Miyazaki
• Marriage Story Film Directed by Noah Baumbach

❓ Film Analysis Essay: FAQ

Why is film analysis important.

Film analysis allows viewers to go beyond the surface level and delve into the deeper layers of a film’s narrative, themes, and technical aspects. It enables a critical examination that enhances appreciation and understanding of the film’s message, cultural significance, and artistic value. At the same time, writing a movie analysis essay can boost your critical thinking and ability to spot little details.

How to write a movie analysis?

• Watch the film multiple times to grasp its key elements.
• Take notes on the story, characters, and themes.
• Pay attention to the film’s cinematography, editing, sound, message, symbolism, and social context.
• Formulate a strong thesis statement that presents your main argument.
• Support your claims with evidence from the film.

How to write a critical analysis of a movie?

A critical analysis of a movie involves evaluating its elements, such as plot, themes, characters, and cinematography, and providing an informed opinion on its strengths and weaknesses. To write it, watch the movie attentively, take notes, develop a clear thesis statement, support arguments with evidence, and balance the positive and negative.

How to write a psychological analysis of a movie?

A psychological analysis of a movie examines characters’ motivations, behaviors, and emotional experiences. To write it, analyze the characters’ psychological development, their relationships, and the impact of psychological themes conveyed in the film. Support your analysis with psychological theories and evidence from the movie.

• Film Analysis | UNC Writing Center
• Psychological Analysis of Films | Steemit
• Critical Film Analysis | University of Hawaii
• Questions to Ask of Any Film | All American High School Film Festival
• Resources – How to Write a Film Analysis | Northwestern
• Film Analysis | University of Toronto
• Film Writing: Sample Analysis | Purdue Online Writing Lab
• Film Analysis Web Site 2.0 | Yale University
• Questions for Film Analysis | University of Washington
• Film & Media Studies Resources: Types of Film Analysis | Bowling Green State University
• Film & Media Studies Resources: Researching a Film | Bowling Green State University
• Motion Picture Analysis Worksheet | University of Houston
• Reviews vs Film Criticism | The University of Vermont Libraries
• Television and Film Analysis Questions | University of Michigan
• How to Write About Film: The Movie Review, the Theoretical Essay, and the Critical Essay | University of Colorado

Descriptive Essay Topics: Examples, Outline, & More

371 fun argumentative essay topics for 2024.

Film Analysis

What this handout is about.

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

Writing the film analysis essay

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

Watching the film

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

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

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

Brainstorming ideas

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

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

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

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

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

Different types of film analysis

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

Semiotic analysis

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

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

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

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

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

Narrative analysis

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

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

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

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

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

Cultural/historical analysis

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

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

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

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

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

Mise-en-scène analysis

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

To conduct this type of analysis, you could ask:

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

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

Reviewing your draft

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

Works consulted

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

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

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

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

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

Make a Gift

Quick Guide on How to Write a Movie Review Essay

What Is a Movie Review

The internet has revolutionized the realm of film criticism. No matter a movie's level of quality, it is always worth analyzing. Despite the growing number of individuals attempting to write about movies, few are successful. Most people do not provide insightful analysis, instead simply state how much they liked or disliked the film.

A movie criticism, usually composed by a professional in film studies, takes a comprehensive look at the film from a historical, social, political, or theoretical standpoint. This is unlike the opinion or suggestion given in a movie review, which is shorter and more concise.

A remarkable aspect of a good film review is that it doesn't just rate the movie but provides explicit views that form the critique's basis. This form of writing, like crafting essays, research papers, and term papers, should be insightful and draw the reader in quickly. It's important to discuss the reputation of the lead actors and directors and to write about what you expected and if they were met. The reviewer must explain a story's development without recalling major plot points and endings. The review must be concise, engaging, and should involve metaphors, specific words, analogies, etc.

Movie Review Purpose

Most film reviews are intended to guide readers in deciding whether to view, rent, or purchase the film. They should provide the necessary information to aid readers in deciding without divulging any fundamental details, such as the storyline or any surprises. This paper is common in schools because the lecturer wants to evaluate the student's ability to think critically and report the event easily for others to understand.

Movie reviews typically present a brief summary of the film's storyline. They provide readers with an overview of the characters, relationships, and scenarios but do not convey the complete narrative. Perusing the review should be different from seeing the movie. Nonetheless, feel free to highlight the essential moments or pivotal points that make the film worthwhile viewing.

Our college essay writing service has put together some advice on composing a movie review essay like a real critic, so let's explore the article further!

How to Write a Movie Review: Movie Review Outline

The structure is key when it comes to the quality of your paper. Don't neglect the power of a good outline, no matter what paper you're writing. Outlines help you stay on track and make sure your paper flows well.

Taking the time to arrange your ideas before starting to write is an effective way to save time further down the line. With a well-structured plan already in place, you won't have to worry about other elements. This will also make the writing process less stressful. Here is a guide on how to organize your movie review outline:

How Do You Start a Movie Review Essay: Introduction

The introductory paragraph is the first obvious step in crafting a movie review essay outline. Here, you want to quickly captivate the reader. Deliver your viewpoint instantly and make it unambiguous. Don't leave the audience wondering whether you enjoyed the film. Tell them right off the bat so you have time to justify your assessment throughout the remainder of the process.

In the introduction movie review should also describe your thesis. Develop the main concept for your essay that you can support using your perceptions of the movie's various aspects. The reader should be able to tell from this statement if you thought the film was fantastic, awful, or simply alright. By including a thesis statement, you may move your analysis beyond the plot synopsis phase into the movie critique category, which is considered a separate creative process.

Crafting Your Essay Movie Review Analysis

According to our research paper service , film analysis is similar to building a case. You're attempting to influence the reader to follow your recommendation to watch or disregard the film. So, you must ensure your essay movie review will be convincing. Giving instances that demonstrate the validity of your personal opinion is the only method to do this. If you find any dialogue in the movie that you think best exemplifies whether the work is strong or not, utilize quotes. This also applies to all of the movie's artistic decisions. But, just because a movie's narrative isn't strong or engaging doesn't indicate the rest of the film is worthless. Carefully highlight how some factors might undermine the movie in your explanation.

The movie's plot is only one component and shouldn't dominate the overall piece. The following are the important aspects to include in your movie review structure:

Cinematography - Cinematography covers much more than simply camera angles. It includes how the picture is lit, how it moves, appears, and what lenses are used. Here you can try the following analysis: 'Warm, gentle colors are used throughout the film, combined with soothing whites and grays, to simultaneously create and gradually tear away the characters' romantic sentiments for one another. There is a painting-like quality to each image.'

Editing - The editing is arguably the absolute star of what creates a good movie review example. It affects both the duration and the flow of a movie. Without effective editing, there would be uncomfortable gaps between pictures and many errors.

Costuming - The clothing the characters wear is called a costume, but there are a number of things to consider while evaluating movie costumes. You should be able to decide if the outfits suit the characters and the movie's atmosphere.

Casting and Acting - Finding the ideal performers to bring characters to life is the goal of casting. This sometimes entails seeing performers portray both familiar personas and figures who are entirely at odds with who they are. Casting, therefore, involves more than just finding talented performers. You can assess the acting in the following way: 'Even though he excels while on the go, his stoic behaviorism causes him to fall short of his co-star during calm scenes where he keeps a blank look on his face.'

Once you have finished analyzing the acting, directing, cinematography, setting, etc., wrap up with concise, stimulating wording to sustain readers' attention. Don't forget to provide a few examples to support your statements about the film.

Concluding Your Essay Movie Review

Finalize your review by coming full circle. Close the review by returning to your introductory fact or thesis. Give your readers a refresher on the movie's most intriguing aspects. It's important to remember that before choosing a movie, viewers check reviews. Finish with a statement indicating whether it is worthwhile for them to view. Be specific about who this movie will be more fascinating to and why in your suggestions. Remember that your ending is your last shot at influencing your audience, so use it wisely.

No matter the kind of movie review you have to complete, our professional specialists are willing to help you. Directly forward your needs to our research paper service and get it done quickly.

Need Help With MOVIE REVIEW WRITING?

No matter what type of movie review you want, our qualified specialists are ready to assist you.

Short Movie Review Form

If you are currently working on a new or old movie review, reading our suggestions should be sufficient to help you earn an A. So what if you'll be writing many reviews in the future? In this situation, we advise you to develop a uniform movie review template, which will enable you to save time and complete your upcoming projects successfully.

So, how to write a movie review template, you may ask? Well, our essay helper prepared a simple yet great movie review template you may use as a foundation for your own writing if you need some help getting started:

Example Papers

Once you know how to review a movie and learn the most valuable tips to handle this assignment, it is time to look at some movie review examples to get you on the right track.

Check out the following pieces to see which of these movie review essay examples you might want to keep at hand when working on your own assignment:

Helpful Tips on Writing Movie Reviews

Here are some extra helpful tips to keep in mind when unsure how to write a movie review essay:

• Add Your Own Personal Feel to Your Movie Critique - You might not have much spare time for your pastime of reviewing. You won't be able to write a movie review, though, if you just wing it without reading what others have said. Make a note of the things that intrigued you, alarmed you, made you uncomfortable, or caused you to pause and consider something, and then use that list as the basis for your research.
• Develop a Distinctive Writing Style - Have an idol—it's good for you. You must be careful not to just paraphrase and duplicate what they say without adding your own original viewpoint. Instead, in order to stand out from the throng, you must discover your own voice. When writing movie reviews, you should also have a distinct writing style.
• Include Extensive Information -Mention the film's photographer, special effects designer, and director. Your review might be significantly impacted by this. Then you may list all the memorable movie moments that also stuck with you.
• Voice Your Views and Back Up Your Criticism - Give your own assessment of the film. Make sure you have evidence to support your criticisms. Use the movie's details that most shocked or humiliated you. Review genuine information rather than merely expressing your opinions without supporting details.

Final Thoughts

Composing a good movie review essay sample is easy if you follow this article's main steps and techniques. Furthermore, we strongly believe that this guide will assist you in achieving remarkable outcomes and ease your writing process. The staff at EssayPro is always available to provide a helping hand if you need a little additional push with movie review examples or even if it's simply coming up with a catchy essay title .

Order an essay and await excellent results! Contact our expert writers and ask them to ' write my essay for me ' – and they will ensure your academic success!

Do You Require a Skilled Professional Writer?

Our writers take extra measures to make sure that your essay is created precisely in accordance with your specifications.

FAQs on Writing an Essay Movie Review

Here are the most frequently asked questions on how to write a movie review. We provided extra details on movie analysis to simplify writing film reviews.

What are the 6 Important Things to Include in a Film Review?

How long should a movie review be, what are the 5 c's in film.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

Related Articles

The Writing Place

Resources – writing about film: the critical essay, introduction to the topic.

Like it or not, studying film may very well be a part of the well-rounded education you receive here at Northwestern University. But how to go about writing such an essay? While film reviews and theoretical essays are part of Film Studies, the most common paper that students will face is: “the critical essay”

Fear not. Though its title combines a serious undertone that implies it is both a large chuck of your grade and also really hard and vague, this post will guide you on your way.

First, what is the critical essay? It may surprise you to note that it is much more than 35% of your grade. In actuality, the most common form of the cinematic critical essay is one in which the writer explores one or more aspects of a film and analyzes how they enhance the film’s meaning and/or artistry. This is very similar to English analysis papers. For example,  The Scarlet Letter  can be analyzed in terms of its motif of civilization versus the wilderness. In the novel, the town is representative of human civilization and authority while the forest represents natural authority (Sparknotes Editors, 2003).  Likewise, the same motif illustrates Terrence Malick’s  Tree of Life.  The wilderness represents the way of nature while the family (or civilization) represents the way of grace. The crossing over of these settings enables the viewer to visualize the internal struggles of Malick’s characters as they seek higher meaning from God.

“Hmmm…” I can hear you wondering. “I already know how to do that! It’s all we did in high school English classes!” But here is where the cinematic essay diverges from the literary essay— the elements that we analyze. Films can be analyzed from traditional literary aspects such as themes, narrative, characters, and points of view but there are also uniquely cinematic aspects: mise-en-scene, the shot, aesthetic history and edited images.

Parts of a Critical Essay

Aspect 1: mise-en-scene.

Mise-en-scene refers to everything in a scene independent of the camera’s position, movement, and editing (Corrigan, 1998). This includes lighting, costumes, sets, the quality of the acting, etc. It is important to remember that every aspect of a scene was consciously chosen by the director and his or her team. Because movies often present themselves as instances of real life, this fact is easily forgotten and the artistic choices that the film crew made are overlooked.

In the following still from   Wes Anderson’s  Moonrise Kingdom  (2012), one can analyze it in terms of mise-en-scene. One could note the arrangement of the props. In real life, it would be unlikely that rocks, sticks, and supplies would arrange themselves in an almost perfect circular fashion around the map. However, Anderson’s decision to arrange the props focus viewer’s attention on the map and highlight the adventure that the two children are about to go on in  Moonrise Kingdom.

Click  here for an example of an essay dealing with mise-en-scene.

Aspect 2: The Shot

The shot refers to the single image before the camera cuts to the next scene (Corrigan, 1998). These shots can include a lot of variety and movement. We can analyze the effect that shots have in terms of their photographic qualities such as tone, speed, and perspectives created, to name a few examples (Corrigan, 1998). A single shot is composed of multiple frames, or stills of the same scene. We can analyze the shot in terms of framing, i.e. what was actually decided to be included within the image and the location of stuff within the frame.

Watch the following shot (beginning at the 30 second mark) for an example: Click Here to Navigate to YouTube

In this shot from Dayton and Faris’  Little Miss Sunshine  (2006), Dwayne has just found out he cannot join the air force. He had maintained a vow of silence to help him focus on getting admitted to the air force and breaks it from utter frustration. The shot’s stationary position as Dwayne runs screaming from his family helps highlight how the physical distance Dwayne puts between himself and his family reflects the emotional distance and frustration he feels at the moment.

Aspect 3: Edited Images

When one or more shots are joined together, they become edited (Corrigan, 1998). These usually have two main purposes. One is the logical development of the story. A shot in the morning connected with a shot in the afternoon connotes to the viewer that time has passed. Other times the editing of shots has artistic intent. For example, in a Chipotle commercial the first shot is of an industrial slaughterhouse. The next shot features animals grazing in a pasture. This is an artistic statement on the part of the advertising team to convey to Chipotle’s customers about the higher standard of care and ethics that they ensure their meat sources follow.

Edited images can also be analyzed from other aspects. For example, one could explain how meaning is created by the specific arrangement in shots, their collisions with each other, and the presence of visual motifs “echoing” through subsequent shots.

For instance, in the edited shots from Patar and Aubier’s movie  A Town Called Panic  (2009) the editing of the kitchen shot and the snow shot serves two purposes. One purpose is to further the logical chronological development of the story. The other purpose is to add humor. Because being asleep for an entire summer is impossibly long, it adds absurd humor.

Hopefully, the brief foray into the various cinematic aspects that one could examine was helpful. The world of film analysis is vast and wide, offering a fecund source for analytical and cinematic exploration and creation.

-Developed by Kyla Donato  

Click here to return to the “writing place resources” main page..

How Can I Write an Essay About a Movie?

By Film Threat Staff | May 23, 2023

Watching movies for a long time has been a major past-time for most individuals. The people expect to sit in front of their screens and get thrilled into a world of adventure, mystery, and wonder.

But how can you gauge your appreciation and understanding of filmmaking? Writing an essay about a movie is one way of showing your grasp of the content.

Movie analysis is a common assignment for most college students. It is an intricate task where every detail matters while tied together to form a part of the story.

A part of the assignment involves watching a particular movie and writing an essay about your overall impression of the movie.

Essay writing services such as WriteMyEssay show that more than rewatching a movie several times is needed to make up for a solid movie analysis essay. Here is a step-by-step guide on how to write your movie analysis:

What Is a Movie Essay?

The world of literature is multifaceted while testing different attributes of students. A movie analysis essay, at its core, seeks to uncover the hidden layers of meaning within the cinema world.

A movie analysis essay is much more than a movie review that seeks to delve into the artistry behind filmmaking. Thus, it seeks to test a student’s prowess in understanding various elements that come together to form a meaningful cinematic experience.

The main purpose of movie analysis essays is to dissect different components employed by a film in making a unique and impactful storyline.

Students can appreciate the filmmaking process’s complexities by analyzing these different elements. Also, students can develop a keen eye for the nuances that elevate a movie from entertainment to a work of art.

Here are top tips by experts when writing an essay about a particular movie during your assignments:

1. Watch the Movie

The first obvious standpoint for writing an essay about any movie is watching the film. Watching the movie builds an important foundation for the writing exercise. Composing an insightful, compelling, and well-thought movie essay requires you to experience it.

Therefore, select an appropriate environment to watch the movie free from distractions. Moreover, immerse yourself in the full movie experience to absorb all the intricate details. Some critical elements to note down include:

• Characterization
• Cinematography

We recommend watching the movie several times in case the time element allows. Rewatching the film deepens your understanding of the movie while uncovering unnoticed details on the first take.

2. Write an Introduction

The introductory paragraph to your movie essay should contain essential details of the movie, such as:

• Release date
• Name of the director
• Main actors

Moreover, start with a captivating hook to entice readers to keep reading. You can start with a memorable quote from one of the characters.

For example, released in 1976 and Directed by Martin Scorsese, ‘The Taxi Driver’ starring Robert De Niro as the eccentric taxi driver.’

After writing an enticing introduction, it is time to summarize what you watched. A summary provides readers with a clear understanding of the movie’s plot and main events. Hence, your readers can have a foundation for the rest of your movie essay.

Writing a summary need to be concise. The entire movie essay should be brief and straight to the point. Ensure to capture the main arguments within the movie’s plot. However, avoid going into too many details. Just focus on giving concise information about the movie.

4. Start Writing

The next vital part is forming the analysis part. This is where the analysis delves deeply into the movie’s themes, cinematography, characters, and other related elements.

First, start by organizing your analysis clearly and logically. Each section or paragraph should concentrate on a particular aspect of the film. Ensure to incorporate important elements such as cinematography, character development, and symbolism.

In addition, analyze different techniques employed by filmmakers. Take note of stylistic choices, including editing, sound, cinematography, imagery, and allegory. This helps contribute to the overall impact and meaning.

Lastly, connect your analysis to the thesis statement. Ensure all arguments captured in your analysis tie together to the main argument. It should maintain a straight focus throughout your essay.

Remember to re-state your thesis while summarizing previously mentioned arguments innovatively and creatively when finishing up your movie essay. Lastly, you can recommend your reader to watch the movie.

Final Takeaway

The writing process should be a fun, demanding, and engaging assignment. Try these tips from experts in structuring and logically organizing your essay.

Leave a Reply Cancel reply

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

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

Murder Mystery 2

NOW ON NETFLIX! The road of excess leads to the palace of popcorn butter in director Jeremy Garelick's sumptuous sequel Murder Mystery 2. The screenplay...

A Story of Survival in Rural Thailand

 Thailand’s national sport, Muay Thai (Thai Boxing), is among the most popular sports in the country and is an integral part of modern MMA fighting....

Netflix Series: Hurts Like Hell

If you're looking for a unique blend of drama inspired by true events and a documentary-style series about sports, Netflix’s "Hurts Like Hell" is...

Line of Fire

Anti-heroes come in all different forms, but my favorite has to be The Punisher, best represented on screen thus far by the Netflix series starring Jon...

NOW ON NETFLIX! You People stars Eddie Murphy, Jonah Hill, Nia Long, and Julia Louis-Dreyfus, with Hill serving as producer. He also wrote the screenplay...

Nollywood: The World’s Fastest-Growing Film Industry

With over $6.4 billion in revenue and more than 2,500 movies per year, Nigeria’s film industry is taking the world by storm. Nollywood, the Nigerian film...

Join our Film Threat Newsletter

Film Essays: The Ultimate Guide to Writing a Film Essay

By Essaywriter

If you’re a film buff or a student of film studies, you’ve probably encountered film essays at some point in your academic career.

Writing a film essay can be challenging, but with guidance, you can craft a compelling analysis of any cinematic masterpiece.

One of the world’s most well-liked and regularly watched forms of entertainment is a film, whether blockbusters or indie movies. The film has become an essential part of culture and society worldwide.

A film is a powerful tool for social critique and cultural expression. Despite changes, movies have never lost their capacity to amuse, instruct, and inspire. This post offers knowledge, suggestions, and resources for writing film essays. An analysis of a particular film’s many elements is done in a film essay.

Understanding the Elements of Film Analysis

Film analysis comprises evaluating and comprehending the many components that make up a film. These include the movie’s cinematography, sound, editing, acting, and narrative. It is possible to gain a deeper understanding of the movie’s themes, messages, and overall relevance by analyzing these components.

Films comprise certain components, which directors and movie producers tend to tweak to recreate different cultures and historical points in time. For instance, a movie set in the 1980s will have very different scenery, costumes, and soundtrack than a movie set in the present.

There has been a major advancement in technology, music, fashion, and social conventions between the 1980s and now. Therefore, these film components need to be properly considered when writing a film essay.

Tips for Writing Film Essays

Researching and selecting a film to analyze.

To explore possible films, choose your areas of interest, such as a specific genre, era, or filmmaker. After that, you can use various tools to gather information and ideas for new films.

Thousands of films, reviews, and ratings are available through online databases such as IMDb and Rotten Tomatoes. Search engines such as Google and Bing can also be used to find articles, criticisms, and analyses of certain films or directors.”

Outlining and Organizing the Film Essays

Outlining and arranging a film essay can help ensure that your analysis is clear and succinct. Create an outline that breaks down the various parts of the film you will be analyzing, such as the narrative, characters, cinematography, and symbolism so that you can arrange your thoughts.

Maintain focus by avoiding needless details. Instead, concentrate on offering specific examples from the film to back up and connect your analysis. You should also employ transitions between paragraphs to make it easier for the reader to follow your train of thought.

Citing Sources and Formatting the Film Essays

Citation of sources and Proper formatting gives credit to the film’s creators, but it also demonstrates the credibility of your research and analysis. When citing a film, it’s important to follow the guidelines of the citation style you use, whether it be MLA, APA, or Chicago.

This includes the title of the film, the director, and the year of release. When citing sources such as articles or books, it’s important to include the author, title, publication date, and page number(s).

Tips for Incorporating Film Terminology and Analysis Techniques

It is critical to strike a balance between employing technical language and making it accessible to your audience when incorporating cinema vocabulary and analysis procedures in a film essay.

One technique is to start with a clear and short statement that defines your essay’s major argument or purpose. From there, you can support and deepen your thesis by employing specialized cinema terminology and analysis approaches. Use film examples to illustrate your views and make them more accessible to the reader.

Use a clear and simple writing style and be consistent in using technical language and analysis methodologies. This will help the reader follow your argument and understand your views.

Finally, to provide a full understanding of the film, employing a variety of analysis methodologies such as formalism or psychoanalysis. This will not only help you obtain a deeper understanding of many components of the film, but it will also allow you to provide a more sophisticated analysis.

Sample Film Essays Outline

Thesis statement: “Through its use of surreal imagery and unconventional narrative structure, ‘Mulholland Drive’ deconstructs the Hollywood dream and exposes the darkness at the heart of the film industry.”

Main point 1: The cinematography and mise-en-scène of ‘Mulholland Drive’

Main point 2: The themes and messages of ‘Mulholland Drive’

Main point 3: The cultural and historical context of ‘Mulholland Drive’

Conclusion: Recap of main points and analysis of the lasting impact of the film

Film elements are what make each film production distinct from every other. Therefore, understanding them empowers writers with the tools to analyze and write fitting essays adequately.

When writing a film essay, tips like researching and selecting a film to analyze, outlining and organizing the essay, citing sources and formatting the essay, and incorporating film terminology and analysis techniques help present your essay in the most logical, clear, clear, concise, and comprehensive way.

If you’re looking to write a film essay anytime soon, following this stepwise guide on writing film essays will get you critical acclaim when your work is peer-reviewed.

Perhaps you do not have the time to write a film essay or any other paper, or maybe you need professional help writing your paper.

Our website, ThePaperExperts.com , is a place you can visit to get your paper professionally written and delivered on time, irrespective of the type of essay you need to be written.

Try us now by calling 1-888-774-9994 and speak to an academic advisor today and get help with film essays!

Related Post

Leveraging your junior college experience for university success, overcoming challenges and succeeding in the virtual classroom, exploring boundless horizons: a guide to specializing as certified nursing assistants, leave a reply cancel reply.

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

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

Leveraging Military Skills in Academic Assignments

Essays About Cinema: Top 5 Examples and 10 Prompts

Are you writing an essay on cinema? Check out our round-up of great examples of essays about cinema and creative prompts to stir up your thoughts on this art form.

Cinema is primarily referred to as films. With the power to transport people to different worlds and cultures, cinema can be an evocative medium to tell stories, shape beliefs, and seed new ideas. Cinema can also refer to the production process of films or even film theaters.

If you’re writing an essay about cinema, our inspiring essay examples and prompts below can help you find the best way to express your thoughts on this art form:  

Best 5 Essay Examples

1. french cinema is more than just entertainment by jonathan romney, 2. “nope” is one of the greatest movies about moviemaking by richard brody, 3. the wolf of wall street and the new cinema of excesses by izzy black, 4. how spirited away changed animation forever by kat moon, 5. from script to screen: what role for intellectual property by cathy jewell, 1. the history of cinema, 2. analysis of my favorite movie, 3. the impact of cinema on life, 4. the technological evolution of cinema, 5. cinema and piracy, 6. how to make a short film, 7. movies vs. film vs. cinema, 8. movie theaters during the pandemic, 9. film festivals, 10. the effect of music on mood.

“In France, cinema is taken seriously, traditionally considered an art rather than merely a form of entertainment or an industrial product. In that spirit, and in the name of ‘cultural exception,’ the French state has long supported home-grown cinema as both art and business.”

The culture of creating and consuming cinema is at the heart of French culture. The essay gives an overview of how the French give premium to cinema as a tool for economic and cultural progress, inspiring other countries to learn from the French in maintaining and elevating the global prestige of their film industry.

“‘Nope’ is one of the great movies about moviemaking, about the moral and spiritual implications of cinematic representation itself—especially the representation of people at the center of American society who are treated as its outsiders.”

The essay summarizes “Nope,” a sci-fi horror released in 2022. It closely inspects its action, technology play, and dramatic point-of-view shots while carefully avoiding spoilers. But beyond the cinematic technicalities, the movie also captures Black Americans’ experience of exploitation in the movie’s set period. 

“These films opt to imaginatively present the psychology of ideology rather than funnel in a more deceptive ideology through moralizing. The hope, then, perhaps, that indulging in the sin that we might better come to terms with the animal of capitalism and learn something of value from it. Which is to say, there is a moral end to at all.” 

This essay zooms into various movies of excess in recent times and compares them against those in the ‘60s when the style in the cinema first rose. She finds that current films of excess do not punish their undiscerning heroes in the end. While this has been interpreted as glorifying the excess, Black sees this as our way to learn.

Check out these essays about heroes and essays about college .

“Spirited Away shattered preconceived notions about the art form and also proved that, as a film created in Japanese with elements of Japanese folklore central to its core, it could resonate deeply with audiences around the world.”

Spirited Away is a hand-drawn animation that not only put Japanese cinema on the map but also changed the animation landscape forever. The film bent norms that allowed it to break beyond its target demographics and redefine animation’s aesthetic impact. The Times essay looks back on the film’s historic journey toward sweeping nominations and awards on a global stage long dominated by Western cinema. 

“[IP rights] help producers attract the funds needed to get a film project off the ground; enable directors, screenwriters and actors, as well as the many artists and technicians who work behind the scenes, to earn a living; and spur the technological innovations that push the boundaries of creativity and make the seemingly impossible, possible.”

Protecting intellectual property rights in cinema has a significant but often overlooked role in helping make or break the success of a film. In this essay, the author identifies the film-making stages where contracts on intellectual property terms are created and offers best practices to preserve ownership over creative works throughout the film-making process.

10 Exciting Writing Prompts

See below our writing prompts to encourage great ideas for your essay:

In this essay, you can write about the beginnings of cinema or pick a certain period in the evolution of film. Then, look into the defining styles that made them have an indelible mark in cinema history. But to create more than just an informational essay, try to incorporate your reflections by comparing the experience of watching movies today to your chosen cinema period.

Pick your favorite movie and analyze its theme and main ideas. First, provide a one-paragraph summary. Then, pick out the best scenes and symbolisms that you think poignantly relayed the movie’s theme and message. To inspire your critical thinking and analysis of movies, you may turn to the essays of renowned film critics such as André Bazin and Roger Ebert . 

Talk about the advantages and disadvantages of cinema. You can cite research and real-life events that show the benefits and risks of consuming or producing certain types of films. For example, cinematic works such as documentaries on the environment can inspire action to protect Mother Nature. Meanwhile, film violence can be dangerous, especially when exposed to children without parental guidance.

Walk down memory lane of the 100 years of cinema and reflect on each defining era. Like any field, the transformation of cinema is also inextricably linked to the emergence of groundbreaking innovations, such as the kinetoscope that paved the way for short silent movies and the technicolor process that allowed the transition from black and white to colored films. Finally, you can add the future innovations anticipated to revolutionize cinema. 

Content piracy is the illegal streaming, uploading, and selling of copyrighted content. First, research on what technologies are propelling piracy and what are piracy’s implications to the film industry, the larger creative community, and the economy. Then, cite existing anti-piracy efforts of your government and several film organizations such as the Motion Picture Association . Finally, offer your take on piracy, whether you are for or against it, and explain. 

A short film is a great work and a starting point for budding and aspiring movie directors to venture into cinema. First, plot the critical stages a film director will undertake to produce a short film, such as writing the plot, choosing a cast, marketing the film, and so on. Then, gather essential tips from interviews with directors of award-winning short films, especially on budgeting, given the limited resource of short film projects. 

Beyond their linguistic differences, could the terms movie, film, and cinema have differences as jargon in the film-making world? Elaborate on the differences between these three terms and what movie experts think. For example, Martin Scorsese doesn’t consider the film franchise Avengers as cinema. Explain what such differentiation means. 

Theaters were among the first and worst hit during the outbreak of COVID-19 as they were forced to shut down. In your essay, dig deeper into the challenges that followed their closure, such as movie consumers’ exodus to streaming services that threatened to end cinemas. Then, write about new strategies movie theater operators had to take to survive the pandemic. Finally, write an outlook on the possible fate of movie theaters by using research studies and personally weighing the pros and cons of watching movies at home.

Film Festivals greatly support the film industry, expand national wealth, and strengthen cultural pride. For this prompt, write about how film festivals encouraged the rise of specific genres and enabled the discovery of unique films and a fresh set of filmmakers to usher in a new trend in cinema.

First, elaborate on how music can intensify the mood in movies. Then, use case examples of how music, especially distinct ones, can bring greater value to a film. For example, superhero and fantasy movies’ intro music allows more excellent recall. 

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

If you’re still stuck, check out our general resource of essay writing topics .

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

View all posts

Student Essays

Essay on My Favourite Movie | Short & Long Essay For Students

If you are trying to write an essay on the topic my favorite Movie then you can read here a sample essay on topic of my favorite movie. Everyone loves different movies my favorite movie can be; 3 idiots, fast & furious, harry potter, bahubali 2 etc.

The following sample essay on my favorite movie in English, in 150, 300 words will help you to write an essay on my favorite movie easily.

Essay on My Favorite Movie For Children & Students

The entertainment industry is very popular for making hundreds of exciting movies to entertain us. Each film has a different genre like there are social, historical, science, fiction, documentary-based, religious, thriller, or horror movies.

I also like to watch movies in my spare time. According to me, a good movie is the one in which we can relate with the characters and share the excitement or sorrows.

My Favorite Movie Essay

The movie that I like the most is “Taarezameen per”. It is my favorite movie and I have seen it so many times. There are no bold scenes in this movie and people of every age can watch it. This is my favorite movie because the story is very touching. This movie is both entertaining and educational. All the characters have acted so well in this movie.

>>>> Related Post:    Essay on My Favorite Personality For Students

It is an emotional movie which always keeps me glued to the screen. It tells about the story of a boy who suffers from dyslexia due to which he is unable to identify speech sounds and how they relate to letters. Because of this disorder, he cannot excel in any activity.

He finds all the subjects difficult to study. Even with this disorder, he is very good at painting. However, he gets expelled from school because of his poor performance.

All the teachers tell his parents that their boy is not normal and he should be sent to school which is especially made for special children like him. Later, his parents send him to boarding school. There he sinks into a state of nervousness and fear because of new environment. Fortunately, he finds an art teacher there who is very supportive and caring.

>>>> Related Post:   Paragraph on My Best Friend for School Exam

His teacher realizes that it is not ishaan’s fault to get bad grades but a disorder which makes it difficult for him to focus. He visits ishaan’s home and gets surprised to see his drawings.

He also gets to know that ishaan’s dad does not understand him and often shouts at him for not getting good grades. Because of this, ishaan no longer paints and suffers from anxiety.

He gets motivated to improve ishaan’s writing and reading by using techniques developed by dyslexia specialists. These techniques help ishaan to score good grades in school. In the end, he also wins a painting competition because of his striking creative style.

I like how this story is relevant in today’s society. According to me, this is a movie which gives best moral to parents, teachers and every child. It is a marvelous piece of work which shows a perfect relationship between a teacher and a student. It highlights the issue that sometimes, parents do not understand that every kid is different.

If he is not good at studies then there must be some other thing which he is good at. He might be interested in painting, acting, singing or sports. Therefore, parents should not discourage their children but help them in what they like.

I like how the director of this movie has brought out a clear message that parents should not ignore the interests of kids and they should not snatch their childhood from them by giving them burden of getting good grades or efficient performance in every field.

>>>> Related Post:    Essay on My Favorite Author For Students

I just hope that this movie will change the thinking of parents and society. I have seen this movie so many times with my family. Every aspect of this movie, from cast to location selection is amazing. All the actors have done an amazing job. I really cried while seeing this movie. I know, I will never get bored from this movie.

Essay on My Favorite Movie Harry Potter

My love for movies started when I was a kid, and ever since then, movies have been my favorite pastime. From action-packed thrillers to romantic comedies, there’s a movie genre for every mood. But if I have to pick just one movie as my all-time favorite, hands down it would be the Harry Potter series.

For those who are not familiar with the name, Harry Potter is a fictional character created by British author J.K. Rowling. The series consists of seven books and eight movies, which follows the journey of a young wizard named Harry Potter, who discovers his true identity as “The Chosen One” and battles against the dark wizard, Lord Voldemort.

I was first introduced to Harry Potter when I was in elementary school, and I still remember the excitement of reading the books for the first time. The magical world of Hogwarts, spells, potions, and flying broomsticks had me completely captivated. As a kid, I would often daydream about receiving my acceptance letter to Hogwarts and attending classes with Harry, Ron, and Hermione.

When the movies were released, I was ecstatic! It was a dream come true to see my favorite characters and their adventures brought to life on the big screen. The cast, especially Daniel Radcliffe as Harry Potter, Emma Watson as Hermione Granger, and Rupert Grint as Ron Weasley, did an incredible job of portraying their characters and staying true to the books.

One of the things I love most about the Harry Potter series is the way it tackles important themes such as love, friendship, courage, and good vs. evil. The characters face challenges and overcome them by staying true to their values and relying on each other for support. This message of unity and strength in the face of adversity resonated with me, and I believe it’s one of the reasons why the series has such a huge fan base.

Moreover, the world-building in the Harry Potter series is impeccable. J.K. Rowling’s attention to detail and ability to create a vivid and complex magical world is truly impressive. From Diagon Alley to Hogsmeade, each location has its own unique charm and adds depth to the story. The spells and magical creatures introduced in the series are also fascinating, and I love how each one has its own history and significance.

Apart from the story and characters, the music in the Harry Potter movies is another aspect that makes them stand out for me. The iconic theme song composed by John Williams never fails to give me chills, and it perfectly captures the essence of the series. The rest of the soundtrack is also beautifully crafted and adds to the overall magical atmosphere of the movies.

As I grew older, my love for the Harry Potter series only intensified. I started noticing and appreciating the deeper themes and symbolism in the story that went beyond just a tale of magic and adventure. The series also taught me valuable life lessons about courage, friendship, and standing up for what is right.

Even today, I find myself re-reading the books and re-watching the movies whenever I need a break from reality. The Harry Potter series has become a timeless classic, and I believe it will continue to capture the hearts of audiences for generations to come.

In conclusion, the Harry Potter series holds a special place in my heart as my all-time favorite movie. It’s not just about magic and adventure, but it’s a story about love, friendship, and overcoming challenges. The series has sparked my imagination and taught me valuable life lessons that I will carry with me forever. And for that, I will always be grateful to J.K. Rowling for creating such a magical world and to the cast and crew for bringing it to life on the big screen.

My Favorite Movie PK

Are you a big movie fan? Do you ever find yourself eagerly waiting for new releases, rewatching old classics, and discussing plot twists with your friends? If so, then you probably understand the feeling of having a favorite movie. For me, that movie is PK.

Released in 2014, PK is an Indian satirical comedy-drama directed by Rajkumar Hirani. The film stars Aamir Khan as the lead character, an alien who lands on earth and becomes stranded when his remote control to return home is stolen. He then embarks on a journey to retrieve it and encounters various aspects of human society, including religion, superstition, and love.

The first time I watched PK, I was blown away by its unique concept and thought-provoking message. The film uses comedy to address serious issues, making it both entertaining and meaningful. It challenges societal norms and beliefs, encouraging viewers to think critically about their own values.

One of the things I love most about PK is its ability to make me laugh while also making me reflect on larger societal issues. The character of PK himself is endearing and hilarious, with his childlike innocence and curiosity about human behaviors. Aamir Khan’s performance as PK is outstanding, bringing the character to life in a way that captures the audience’s hearts.

The film also has a stellar supporting cast, including Anushka Sharma, Sushant Singh Rajput, and Boman Irani. Each actor delivers a memorable performance, adding depth and complexity to the film’s themes. The chemistry between the characters is palpable, making their relationships feel authentic and relatable.

One of the most impactful aspects of PK is its commentary on religion. The film presents a thought-provoking argument against blind faith and superstition, showcasing how religious leaders can exploit people’s beliefs for personal gain.

It also highlights the importance of questioning and understanding one’s own beliefs rather than blindly following societal norms. This message resonated with me deeply and has stayed with me long after watching the film.

In addition to its thought-provoking themes, PK also boasts stunning cinematography and a captivating soundtrack. The music adds emotion and depth to key scenes, enhancing the overall viewing experience. The film’s settings, from the bustling streets of Mumbai to the tranquil beauty of Rajasthan, further immerse viewers into PK’s world.

But what truly makes PK my favorite movie is its ability to make me feel a range of emotions. I laughed at PK’s antics, cried during emotional moments, and felt anger towards societal injustices portrayed in the film. It takes skillful storytelling to evoke such strong emotions from the audience, and PK does it flawlessly.

PK has received both critical and commercial success, becoming one of the highest-grossing Indian films of all time. It also won several awards, including Best Film at the 60th Filmfare Awards. However, what matters most to me is its impact on society and its ability to spark important conversations.

The film’s message is timeless and relevant, making it a must-watch for people of all ages and backgrounds.

In conclusion PK is more than just a movie to me. It’s a thought-provoking masterpiece that challenges societal norms and encourages viewers to question their own beliefs. Its unique blend of comedy, drama, and social commentary makes it my favorite movie, one that I will continue to rewatch and recommend to others. If you haven’t seen PK yet, do yourself a favor and add it to your must-watch list. Who knows, it may become your favorite movie too. So, what are you waiting for? Grab some popcorn and hit play on PK – an unforgettable cinematic experience awaits!

Essay on My Favorite Movie Fast and Furious:

The Fast and Furious franchise has been a staple in the action movie genre for over two decades. With its adrenaline-fueled car chases, heart-stopping stunts, and diverse cast of characters, it’s no wonder that this series has become a favorite among fans worldwide.

My love for this franchise began when I first watched The Fast and the Furious back in 2001. From the very first race scene, I was hooked. The sound of revving engines and the sight of sleek cars racing through the streets had me on the edge of my seat. But what truly drew me in was the chemistry between characters Dominic Toretto and Brian O’Conner.

Their bromance and loyalty to each other despite their differences resonated with me. It’s not just about fast cars and action-packed scenes, but also about the bond of family and friendship that has kept this franchise going strong.

One of the most appealing aspects of the Fast and Furious series is its diverse cast. From street racers to former criminals, each character brings their own unique skills and personalities to the table. And as the franchise grew, so did the representation of different cultures and backgrounds.

The shift from street racing to heists in Fast Five not only upped the ante with thrilling action sequences but also introduced us to fan-favorite characters like Han, Tej, and Roman. Even more diversity was brought to the franchise with strong female characters like Letty, Mia, and most recently Hattie Shaw. Seeing people from all walks of life come together and form a strong bond is what makes this series stand out for me.

But it’s not just the characters that make this franchise special; it’s also the crazy stunts and over-the-top action sequences. From driving cars off cliffs to jumping between skyscrapers, each movie manages to push the limits of what we thought was possible. And the fact that most of these stunts are done practically is a testament to the dedication and hard work put in by the cast and crew.

It’s also worth mentioning how well this franchise has evolved over time. From humble beginnings as a street racing movie, it has now become a global phenomenon with spin-offs, video games, and even a live show. The Fast and Furious franchise has proven that it can adapt and continue to entertain audiences with each new installment.

While I have enjoyed all the movies in this franchise, there are a few that stand out for me. Fast Five, in particular, holds a special place in my heart. It was the first movie that fully embraced the heist aspect of the series while still maintaining its signature car chases and fight scenes. The addition of Dwayne Johnson’s character, Luke Hobbs, also added an extra layer of excitement to the movie.

Another favorite of mine is Furious 7. Not only did it have some of the most thrilling action sequences in the franchise, but it also served as a touching tribute to Paul Walker, who tragically passed away during filming. The emotional impact of his absence was felt throughout the movie, and it truly showed how much this cast had become a family both on and off-screen.

In conclusion, the Fast and Furious franchise holds a special place in my heart as my favorite movie series. Its diverse cast, heart-pumping action sequences, and themes of family and friendship make each movie a joy to watch. While the franchise may have started as a simple movie about street racing, it has now become a global phenomenon that continues to entertain audiences worldwide.

And with more movies and spin-offs in the works, I can’t wait to see what other exciting adventures this franchise has in store for us. So, if you haven’t watched any of the Fast and Furious movies yet, I highly recommend you give them a chance and join in on the ride. So buckle up and get ready for some high-speed action with the Fast and Furious franchise!

Essay on My Favorite Movie Twilight:

My favorite movie of all time is Twilight. I know, I know, it may sound cliché but hear me out. The reason why it’s my favorite movie goes beyond the romantic vampire and werewolf love triangle that captured the hearts of millions around the world.

Twilight is not just a typical romance film. It’s a story about self-discovery, acceptance, and the power of love to transcend all boundaries.

The movie is based on the novel by Stephenie Meyer and follows the story of Bella Swan, a teenage girl who moves to the small town of Forks, Washington to live with her father. There she meets Edward Cullen, a mysterious and handsome vampire who she falls in love with. However, their love is not without challenges as they must navigate the dangerous world of vampires and werewolves while also facing their own personal demons.

One of the reasons why I love this movie is because of its strong female lead. Bella is not your typical damsel in distress waiting to be saved by her prince charming. She is independent, brave, and unafraid to stand up for what she believes in. Her character development throughout the series is inspiring and relatable, making her a role model for young girls everywhere.

Another aspect of the movie that I enjoy is its beautiful cinematography. The stunning scenery of the Pacific Northwest adds to the mystical and enchanting atmosphere of the story. It’s no wonder that fans from all over the world travel to Forks to visit some of the filming locations.

But what makes this movie truly special to me is its theme of love conquering all. Despite their differences, Bella and Edward’s love for each other remains strong and unwavering. It shows that true love knows no boundaries, whether it be race, social status, or even species.

Twilight may have its fair share of critics but for me, it will always hold a special place in my heart. It’s not just a movie, it’s a reminder that love is the most powerful force in the world and can overcome any obstacle.

In conclusion, Twilight is more than just a teenage romance movie. It’s a beautiful story about love, growth, and acceptance. Its captivating characters, breathtaking scenery, and timeless message make it my all-time favorite movie. It’s a film that I can watch over and over again, always finding something new to love about it. And for that, it will forever hold a special place in my heart.

So the next time someone asks me why Twilight is my favorite movie, I’ll simply smile and say “because it’s not just a movie, it’s a love story that transcends all boundaries.” So, if you haven’t watched it yet, I highly recommend giving it a chance and experiencing the magic of Twilight for yourself. Trust me, you won’t regret it.

Essay on My Favorite Movie Dangal:

As a movie buff, I have watched hundreds of movies spanning different genres. But there is one movie that stands out amongst them all and holds a special place in my heart – Dangal.

Dangal is an Indian sports biographical drama based on the real-life story of former wrestler Mahavir Singh Phogat and his daughters Geeta Phogat and Babita Kumari. Directed by Nitesh Tiwari, the movie stars Aamir Khan as Mahavir Singh Phogat and Fatima Sana Shaikh and Sanya Malhotra as his daughters. The film was released in 2016 and has since become one of the highest-grossing Indian films of all time.

What makes Dangal my favorite movie is not just its box office success, but the powerful message it delivers. The film challenges societal norms and stereotypes by showcasing the struggle of a father who defies all odds to train his daughters in a male-dominated sport like wrestling. It breaks gender barriers and inspires young girls to pursue their dreams, no matter how unconventional they may seem.

Apart from its impactful message, Dangal also delivers exceptional performances by its lead actors. Aamir Khan once again proves his versatility as an actor with his portrayal of Mahavir Singh Phogat. He not only physically transforms himself to play the role of a wrestler but also brings out the emotional side of a father who is determined to see his daughters succeed. Fatima Sana Shaikh and Sanya Malhotra also shine in their roles as the Phogat sisters, displaying strong-willed and determined characters.

The film’s screenplay and direction are top-notch, keeping the audience engaged from start to finish. The wrestling scenes are choreographed brilliantly, making them look realistic and intense. The soundtrack of the movie is another highlight, with songs like “Dangal” and “Haanikaarak Bapu” becoming instant hits.

In addition to its commercial success, Dangal has also received critical acclaim. The film won several awards, including the National Film Award for Best Popular Film Providing Wholesome Entertainment and three Filmfare Awards. It was also India’s official entry for the Academy Award for Best Foreign Language Film.

In conclusion, Dangal is a movie that has it all – a powerful message, exceptional performances, and top-notch execution. It not only entertains but also educates and inspires its audience. For me, it will always remain my favorite movie and one that I highly recommend to everyone. So if you haven’t watched it yet, do yourself a favor and add it to your must-watch list. You won’t be disappointed. So, keep watching amazing movies!

Short Essay on My Favorite Movie Bahubali:

Bahubali is an epic Indian movie that swept the nation off its feet with its grandeur, action-packed scenes, and compelling storyline. Released in 2015, this movie was a game-changer for Indian cinema as it broke all box office records and took the world by storm.

Directed by S.S. Rajamouli, Bahubali tells the story of two brothers, Amarendra Bahubali and Bhallaladeva, who fight for the throne of the ancient kingdom of Mahishmati. The movie is set in a fictional world filled with political intrigue, love, war, and betrayal.

One of the reasons I fell in love with this movie is its incredible action sequences. From sword fights to larger-than-life battle scenes, Bahubali has it all. The special effects and CGI used in the movie are top-notch and make the fight scenes even more captivating.

But what truly sets Bahubali apart is its strong characters, especially its female lead Devasena. She is a fierce warrior who can hold her ground against any opponent. Her character challenges traditional gender roles and stands out as a symbol of strength and resilience.

Apart from the action, Bahubali also has a heart-wrenching love story between Amarendra Bahubali and Devasena. Their chemistry is palpable, and their love for each other is portrayed beautifully on screen. This adds an emotional depth to the movie that makes it even more impactful.

Moreover, what I admire about Bahubali is how it showcases the rich culture and traditions of India. The sets, costumes, and music all beautifully capture the essence of Indian mythology and history.

Aside from its entertainment value, Bahubali also has a powerful message about good triumphing over evil. Through the character of Amarendra Bahubali, the movie teaches us that true strength lies in compassion and not violence.

In conclusion, Bahubali will always hold a special place in my heart as it is not just a movie but an experience. It has set the bar high for Indian cinema and has left its mark on audiences worldwide. This movie truly represents the magic of storytelling and proves that with passion and dedication, anything is possible. So, if you haven’t watched Bahubali yet, do yourself a favor and experience this masterpiece for yourself. So, don’t wait any longer and dive into the world of Bahubali – you won’t regret it!

How do I write an essay about my favorite movie?

Answer: To write an essay about your favorite movie, start with an introduction, provide a brief summary of the film, discuss the plot, characters, and themes, share personal insights and emotions it evoked, and conclude with your overall assessment.

How do I write an essay about a movie?

Answer: To write an essay about a movie, introduce the film and its context, summarize the plot, analyze elements like characters, themes, and cinematography, discuss the impact and significance of the movie, and conclude with your evaluation and personal reflections.

How would you describe your favorite movie?

Answer: My favorite movie is “The Shawshank Redemption.” It’s a powerful and poignant drama set in a prison, focusing on the themes of hope, friendship, and the resilience of the human spirit. The film’s characters and storytelling are exceptional, making it a timeless classic.

What is your favorite movie and why?

Answer: My favorite movie is “The Lord of the Rings: The Fellowship of the Ring.” I love it because of its epic fantasy world, compelling characters, and the timeless battle of good versus evil. The storytelling, visuals, and music combine to create an immersive and magical experience that never gets old

5 thoughts on “Essay on My Favourite Movie | Short & Long Essay For Students”

Hey! Can you make a essay on Break the Silence: The movie💜

Hey! Can you make a essay on Frozen and How to train your dragon: The movie💜

Thank you for writing this essay. This essay is very important.

Leave a Comment Cancel reply

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

• Practice Test
• Useful Tips – Tricks
• Full Writing Review
• General Writing Task
• Writing Task 1
• Writing Task 2
• Writing Exercises
• Writing Sample – Topics
• Writing Vocabulary
• Speaking Vocabulary
• Intro Question
• Speaking Part 1
• Speaking Part 2
• Speaking Part 2 – Audio
• Speaking Part 3
• IELTS Books
• Recent Exams
• IELTS Vocabulary
• Essay from Examiners
• IELTS Ideas

I. Questions. 

• Do you like to watch films?
• What kinds of movies do you like best?
• Do you prefer foreign films or films made in your country?
• How often do you watch films?
• How often do you go to a cinema to watch a movie?
• Do people in your country like to go to a cinema to watch a film?
• What was the first film that you watched?
• Do you like to watch movies alone or with your friends?
• Would you like to be in a movie?
• What was the best movie you watched?

II. Samples

1. do you like to watch films.

Absolutely! They are an excellent way to unwind (relax; free your mind). Moreover, my friends are really into films, so it’s a fun, relaxing way to spend time together. Afterwards, we discuss and debate the film that we have just watched. Apart from just relaxing and enjoying the film, I like to delve deeper (get to the deeper meaning) to discover the subliminal messages.

2. What kinds of movies do you like best?

Well, I would say I’m still a kid at heart (a person who still feels like a child in their heart), so I really enjoy watching kids’ movies. Although they seem simple and innocent, there are often many life lessons packed into these films. Moreover, I’m really into drama and historical movies. When I watch these, I feel that I can deeply understand human emotions and re-live historical moments, like the Vietnam-America War or World War II.

3. Do you prefer foreign films or films made in your country?

Since my country doesn’t have a huge film industry, I’ve always been really into American films. Not to knock (to insult; discredit) other film industries, but American ones are incredibly entertaining and well-made; the evolution of film continues to amaze me. Moreover, I only watch films in English so it helps me to learn new slang and expressions.

4. How often do you watch films?

Well, I am quite a busy bee (a busy person), but I manage to see one or two films a week at home. After a long day of studying, I love snuggling up (getting comfortable with blankets) on the sofa and watching a film to unwind. I tend to do this on Friday and Sunday evenings with my friends.

5. How often do you go to a cinema to watch a movie?

Not too often actually. As the prices in my country are quite high, I usually  opt to   (choose)  watch a movie at home instead to save on costs. Actually, I think it’s kind of a waste of money to see a movie at a cinema when you can watch it from the comfort of your living room. I only go when a friend invites me, which is maybe 4 times a year.

6. Do people in your country like to go to a cinema to watch a film?

I would say so. Since people like to go out with their families on the weekends, this is often an activity that they would choose. Moreover, teenagers enjoy this activity as a way to get out of the house. Furthermore, it’s often a popular date option for many people!

7. What was the first film that you watched?

Hmm, it’s hard to say the first, but I think it was the Lion King. I know it first came out in the early ’90s when I was a child. It was my absolute favourite- I used to watch it repeatedly until my parents were really tired of it! I even built “pride rock” out of rocks that I found when we would go to visit my relatives who have a garden.

8. Do you like to watch movies alone or with your friends?

Both! On one hand, I find it extremely relaxing to chill out and fall asleep to a film by myself, but it’s also enjoyable to have company. So, all in all, I prefer films with friends, since they are also into movies. Afterwards, we can discuss the meaning and carry on inside jokes (jokes among friends) from quotes from the film later on!

9. Would you like to be in a movie?

Not one bit! As I have stage fright (fear of being on stage), I would never have the guts (never be brave enough to)  to do it. Secondly, I feel awkward when I try to act and I have the memory of a goldfish (short memory) so I know I could never memorize my lines! All in all, acting is simply not my thing.

10. What was the best movie you watched?

Okay, that’s a hard question! If I absolutely had to choose, I’d pick The Departed, by Martin Scorcese. It features Leonardo diCaprio starring a police detective undercover in the Irish mob. The chilling plot, intense dialogue and brilliant cinematography make it an all-time favourite for me.

• speaking part 1

LATEST POSTS

Ielts speaking part 1: rubbish/ plastic garbage, talk about global warming (part 1/3), ielts speaking part 1: advertisements (audio).

IELTS App - For Mobile

Ready for the IELTS exam with our IELTS app. Over 2 million downloads

Popular Last 24h

Ielts speaking part 1: topic tidiness, describe a useful website that you often visit, writing task 1: the floor plan of a public library 20 years ago and how it looks now, describe your favorite movie – (john wick), listening full test 10 - section 3, extreme sports – essay from examiners 2018, talk about your hobby – (listening to music).

• IELTS Test/Skills FAQs
• IELTS Scoring in Detail
• Forecast Speaking – 2023
• List IELTS Speaking Part 3
• List IELTS Speaking Part 1
• IELTS Writing 2023 – Actual Test

Our Telegram

Join our community for IELTS preparation and share and download materials.

The information on this site is for informational purposes only. IELTS is a registered trademark of the University of Cambridge ESOL, the British Council, and IDP Education Australia. This site and its owners are not affiliated, approved or endorsed by University of Cambridge ESOL, the British Council, or IDP Education Australia.

Latest Articles

Cue card – describe a gift you bought for someone, cue card – describe a place where you like to go shopping, ielts writing task 1 (process wasted glass bottles) – band 9, most popular, describe a film that made you laugh, describe a person whom you met for the first time and made you happy, topic: experience is the best teacher, describe something difficult you would like to succeed in doing, in many countries，today there are many highly qualified graduates without employment..

ieltspracticeonline All Rights Reserved

Text size: A A A

About the BFI

Strategy and policy

Press releases and media enquiries

Jobs and opportunities

Join and support

Become a Member

Become a Patron

Using your BFI Membership

Corporate support

Trusts and foundations

Make a donation

Watch films on BFI Player

BFI Southbank tickets

• Follow @bfi

Watch and discover

In this section

Watch at home on BFI Player

What’s on at BFI Southbank

What’s on at BFI IMAX

BFI National Archive

Explore our festivals

BFI film releases

Read features and reviews

Read film comment from Sight & Sound

I want to…

Watch films online

Browse BFI Southbank seasons

Book a film for my cinema

Find out about international touring programmes

Learning and training

BFI Film Academy: opportunities for young creatives

Get funding to progress my creative career

Find resources and events for teachers

Join events and activities for families

BFI Reuben Library

Search the BFI National Archive collections

Browse our education events

Use film and TV in my classroom

Read research data and market intelligence

Funding and industry

Get funding and support

Search for projects funded by National Lottery

Apply for British certification and tax relief

Industry data and insights

Inclusion in the film industry

Find projects backed by the BFI

Get help as a new filmmaker and find out about NETWORK

Read industry research and statistics

Find out about booking film programmes internationally

You are here

The essay film

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

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

from our August 2013 issue

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

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

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

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

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

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

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

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

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

Las Hurdes (1933)

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

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

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

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

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

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

The montage tradition

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

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

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

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

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

Dziga Vertov’s Enthusiasm (1931)

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

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

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

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

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

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

Progressive vs radical

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

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

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

Night Mail (1936)

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

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

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

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

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

Night and Fog (1955)

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

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

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

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

— Andrew Tracy

1.   À propos de Nice

Jean Vigo, 1930

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

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

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

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

— Ginette Vincendeau

2. A Diary for Timothy

Humphrey Jennings, 1945

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

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

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

— Catherine McGahan

3. Toute la mémoire du monde

Alain Resnais, 1956

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

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

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

— Chris Darke

4. The House is Black

(Khaneh siah ast) Forough Farrokhzad, 1963

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

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

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

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

— Sophie Mayer

5. Letter to Jane: An Investigation About a Still

Jean-Luc Godard & Jean-Pierre Gorin, 1972

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

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

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

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

6. F for Fake

Orson Welles, 1973

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

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

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

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

— Geoff Andrew

7. How to Live in the German Federal Republic

(Leben – BRD) Harun Farocki, 1990

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

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

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

— Olaf Möller

8. One Man’s War

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

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

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

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

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

—Sergio Wolf. Translated by Mar Diestro-Dópido

9. Sans soleil

Chris Marker, 1982

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

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

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

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

10. Handsworth Songs

Black Audio Film Collective, 1986

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

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

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

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

— Nina Power

11.   Los Angeles Plays Itself

Thom Andersen, 2003

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

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

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

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

— Nick Bradshaw

12.   La Morte Rouge

Víctor Erice, 2006

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

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

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

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

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

Sight & Sound: the August 2013 issue

In this issue: Frances Ha’s Greta Gerwig – the most exciting actress in America? Plus Ryan Gosling in Only God Forgives, Wadjda, The Wall,...

More from this issue

DVDs and Blu Ray

Buy The Complete Humphrey Jennings Collection Volume Three: A Diary for Timothy on DVD and Blu Ray

Humphrey Jennings’s transition from wartime to peacetime filmmaking.

Buy Chronicle of a Summer on DVD and Blu Ray

Jean Rouch’s hugely influential and ground-breaking documentary.

Further reading

Video essay: The essay film – some thoughts of discontent

Kevin B. Lee

The land still lies: Handsworth Songs and the English riots

The world at sea: The Forgotten Space

What I owe to Chris Marker

Patricio Guzmán

His and her ghosts: reworking La Jetée

Melissa Bradshaw

At home (and away) with Agnès Varda

Daniel Trilling

Pere Portabella looks back

John Akomfrah’s Hauntologies

Laura Allsop

Back to the top

Commercial and licensing

BFI distribution

Archive content sales and licensing

BFI book releases and trade sales

Selling to the BFI

Terms of use

BFI Southbank purchases

Online community guidelines

Cookies and privacy

©2024 British Film Institute. All rights reserved. Registered charity 287780.

See something different

Subscribe now for exclusive offers and the best of cinema. Hand-picked.

Gyan IQ .com

Essay on “the film i liked most” english essay, paragraph, speech for kids and students for classes 6, 7, 8, 9, 10, 11 and 12 cbse, icse board, 272 words., the film i liked most.

Films are a cheap means of entertainment. They break the dullness of our daily life. They help us to forget the worries of life for a few hours. Whenever some new film comes, there is a heavy rush of the people in front of a cinema hall. I am not crazy after films. But whenever there is some good movie, I love to watch it at any cost.

Last week I chanced to see “Baiju Bawra.’ It is a classic movie of past years. Its story dates back to the period of Mughal king, Akbar. A classical singer named Tansen was his court musician. He was known as a top-class musician. There was no match for him. The story of the film describes how Baiju, a less known singer, defeated Tansen in a music competition.

The setting of the story is very fine. Bharat Bhushan and Meena Kumari are the key-characters. Bharat Bhushan plays the part of Baiju. Meena Kumari is Gauri in the film. Baiju and Guari are in love. Baiju’s love for Gauri inspires Baiju to achieve perfection in classical music. It finally helps him to defeat Tansen in a music competition. Tansen accepts Baiju’s superiority in music. However, Baiju is humble enough to uphold Tansen’s prestige.

The film has a number of classical songs. There are also songs sung by Lata and Rafi. These songs are full of melody. They transport listener to a world of romance and beauty. These songs are still sung and enjoyed. I liked the film very much. It reminded me of those days when films were made for pure enjoyment. The film did not have any vulgar scene. It was a piece of art for the sake of art. I was thoroughly delighted to see this film.

These songs are full of melody. They transport listener to a world of romance and beauty. These songs are still sung and enjoyed. I liked the film very much. It reminded me of those days when films were made for pure enjoyment. The film did not have any vulgar scene. It was a piece of art for the sake of art. I was thoroughly delighted to see this film.

Related posts:

Related posts.

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

Email Address: *

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

This site uses Akismet to reduce spam. Learn how your comment data is processed .

No products in the cart.

IELTS Speaking Test Part 2: Describe Your Favourite Movie

How can you describe a movie for an IELTS Speaking Test?

Hello, I’m Jane at DailyStep English. In this free IELTS Speaking Test Audio Lesson you will learn how to talk about the films you like and why you like them. This will help you get a higher score in English exams, and also improve your conversation skills.

If you are new to DailyStep English – welcome 🙂 Please sign up here for more free Audio Lessons.

IELTS Speaking Test PART 2 Sample Question and Answer

by Jane Lawson at DailyStep.com

Question:  Describe your favourite movie

You should say:

• What the film is about
• Why you like it so much
• What message the movie gives.

Answer:  It’s quite hard to say what my favourite movie is because there are quite a few to choose from! But I would say that the one that  made the strongest impression on me is a German film called ‘The Lives of Others’.

This film is set in communist East Germany, shortly before the fall of the Berlin Wall. At that time , the Stasi, the East German secret police, used to spy on all kinds of people.

The two main characters in the film are a playwright called Dreyman and a Stasi spy called Weisler, whose job it is to keep Dreyman under 24 hour surveillance. Weisler is supposed to be reporting back to his superiors at the Stasi in order to discredit the playwright.

However, he develops a strong sympathy for the playwright and his girlfriend, and determines to protect them by not reporting anything significant.

The scenes in the film where it cuts from the colourful and interesting lives of Dreyman and his friends to the lonely attic where Weisler is sitting really show the contrast between the two men. The film is shot in such a way that it makes you believe you are also spying on Dreyman, it even made me feel a bit guilty!

I like this film because it has fascinating, 3-dimensional characters , and also the plot has plenty of twists . Right up until the end of the film, we are left guessing how it could possibly end.

It is also very thought-provoking because it makes you wonder how many people working for the Stasi actually did protect the people they were spying on.

As for the message it gives, I would say the main message is that we can find kindness and humanity in the most unexpected of places. The film makes us realise that nothing is ever black and white! The film also serves as a warning about the dangers of an oppressive, paranoid regime and is perhaps quite pertinent in this current age of mass surveillance.

This sample answer took around 2 minutes, which is the maximum time you need to speak for without stopping in Part 2 of the IELTS speaking exam.

If you enjoyed my Audio Blog, please share it. Thank you 🙂

How to speak English fluently and understand fast English

DailyStep English Audio Lessons are designed to help you learn to speak and understand English at the speed that we speak it . No matter how good your English is, you need to be able to follow a fast conversation in order to participate. DailyStep English courses are fully accredited and you can get an internationally-recognised certificate for your CV or resume.

How to use your lessons:

How to slow the audio:

How to Start Daily Audio Lessons

✔    Daily Audio Lessons +  Premium Audio in my Blog Library ✔    Your lessons never expire – you can take them again any time ✔    Change your level any time ✔    100% happy or your money back!

• Level 1: (1 Month) £6.00 for 1 month start Loading Done
• Level 1: (3 Months) £15.00 for 3 months start Loading Done
• Level 1: (6 Months) £27.00 for 6 months start Loading Done
• Level 1: (1 Year) £48.00 for 1 year start Loading Done
• Level 2: (1 Month) £7.00 for 1 month start Loading Done
• Level 2: (3 Months) £18.00 for 3 months start Loading Done
• Level 2: (6 Months) £34.00 for 6 months start Loading Done
• Level 2: (1 Year) £62.00 for 1 year start Loading Done
• Level 3: (1 Month) £8.00 for 1 month start Loading Done
• Level 3: (3 Months) £21.00 for 3 months start Loading Done
• Level 3: (6 Months) £39.00 for 6 months start Loading Done
• Level 3: (1 Year) £74.00 for 1 year start Loading Done
• Level 4: (1 Month) £9.00 for 1 month start Loading Done
• Level 4: (3 Months) £24.00 for 3 months start Loading Done
• Level 4: (6 Months) £45.00 for 6 months start Loading Done
• Level 4: (1 Year) £86.00 for 1 year start Loading Done
• Level 5: (1 Month) £10.00 for 1 month start Loading Done
• Level 5: (3 Months) £27.00 for 3 months start Loading Done
• Level 5: (6 Months) £52.00 for 6 months start Loading Done
• Level 5: (1 Year) £98.00 for 1 year start Loading Done

Similar Posts

IELTS Speaking Test Part 2: Describe A Major Decision That You Have Taken In Your Life

IELTS Speaking Test Part 2: Describe An Interest Or Hobby That You Enjoy

IELTS Speaking Test Part 2 Sample Answer: DESCRIBE YOUR FAVOURITE SHOP

Using question tags with correct intonation

IELTS Speaking Test Part 2: Describe An Area Of Countryside

Learn countryside vocabulary in brendan’s latest video blog.

IELTS Cue Card

A website dedicated to IELTS Cue Card Samples, Speaking Samples, and Speaking Preparation Guideline...

Search This Blog

Describe your favourite movie/film, describe your favourite movie/film..

• when you watched it
• what it is about

Idea Generation for this Cue Card Topic: 

• Describe a movie you have recently watched. 
• Describe your favourite movie. 
• Describe a foreign movie you have enjoyed. 
• Describe a movie you would like to watch again. 
• Describe a movie you watched with your friends.

Popular posts from this blog

Describe an animal which you find interesting, describe a time when you were very busy, person in your family who you most admire.

What Is Your Favorite Movie? IELTS Speaking (10 Example Answers)

The examiner might ask you about movies in part one of your IELTS Speaking test. In this case, they will probably ask, “What is your favorite movie?”

Let’s take a look at the best way to answer this question. Below, you can also read 10 good example answers ( go straight to the answers here ).  

How You Can Answer

If you don’t have a clear favorite movie, just talk about any movie that you like or a movie you’ve seen recently.  

The important thing is that you can remember the movie clearly and say a few things about it.  

Using one or two sentences, you can talk about:

• What kind of movie it is (action, science fiction, romance, comedy, animated, fantasy…)
• What it’s about (very briefly)
• Why you like it (or used to like it)
• What happens (or happened) in the movie
• Who the main characters are
• Who stars in the movie (the actors)
• Who directed the movie  
• When you last saw it
• Anything else that comes to mind

A Common Problem: Translating Movie Names

Maybe you think of a movie you really love, but you don’t know how to say the movie name in English!  

Don’t worry. It can be difficult to quickly translate the name of a movie into English.  

If you don’t know the English name, just say something like ‘ My favorite movie is an American action movie about two policemen who… ‘

You can leave the movie name out, no problem. Just don’t waste ten seconds in silence trying to think of the English name.  

But it might be a good idea to talk about a movie where you already know the title in English.   Or choose a movie like Titanic, Avatar, or Avengers, where the name is the same in every language. 

Focus on Fluency, Not Grammar

In part one, don’t worry too much about using complex grammar or vocabulary.

Part one is only to warm you up . It’s better to speak as quickly as fluently as you can, without hesitation.

For this, simple English is fine.  

Use the Three-Step YES Method

Also, keep your answers short in part one.  

Don’t make the mistake of speaking for too long in your answers. Just 10 or 20 seconds of talking is fine.  

You can use the three-step YES Method for all your part-one answers. Just say:

• Y our answer (say a movie you like)
• E xplain your answer (say why you like it) or add more details
• S top talking (let the examiner know you’re ready for the next question)

Example Answers

Here are 10 good answers, which you can use for ideas.

1. My favorite movie is a classic romance movie called Titanic. It’s about a poor young man called Jack who falls in love with a rich young woman named Rose on board a huge ship that sinks at sea. It’s very romantic and tragic. It’s very moving and it always makes me cry.

2. I love this amazing science fiction movie called Avatar. It’s about humans trying to get special resources from another planet, which has tall blue aliens living there. The special effects and action scenes are incredible.  

Lord of the Rings

3. Lord of the Rings is my favorite movie. It’s a trilogy of three movies, really. I love it because I’m a big fan of fantasy and I’ve read all the books as well.

The Lion King

4. I’ve always loved the Lion King, which is a wonderful animated movie about a young lion who has to become king of the animals. The best thing about this movie is the music, which is very inspiring and heart warming.  

5. I think Avengers is such a cool movie. I love all superhero movies, but Avengers is my favorite. To my mind, Iron Man is the best character. He’s played by an actor named Robert Downey Junior.  

6. I love Toy Story because I can watch it with my children and they love it as well. It’s a very charming story about toys that come to life at night.  

The Big Lebowski

7. There’s a funny movie called The Big Lebowski that was a kind of cult classic movie when I was younger. I love it because the protagonist, who’s called Lebowski, is so laid back and hilarious.

8. My favorite movie is The Matrix, which is a really popular science fiction film. The plot is totally mind-blowing. And the fight scenes are out of this world.  

Harry Potter

9. I’ve always loved the Harry Potter movies. I love fantasy stories like that, and I’ve also read all the books.  

Don’t Know the English Name

10. My favorite movie is a film from my country about a soldier who goes to war to protect the people he loves. It’s a very moving story about brotherhood and friendship and making sacrifices for people you care about.

Now, It’s Your Turn  

Give this question a go yourself. It’s best to practice by recording yourself.

Set up a voice recorder and ask aloud, “What is your favorite movie?”

Answer as quickly as you can, using the three-step YES Method.  

When you’ve finished answering, listen to yourself, and think of any ways you could improve your answer.

Then… do it again!

Keep repeating this process and you’ll soon be ready for part one of your IELTS Speaking test.  

Related Posts

Animals are one possible topic in part one of your IELTS Speaking test. A question…

You might be asked about the weather in part one of your IELTS Speaking test.…

Let's take a look at a common IELTS Speaking part-one question, "What is your favorite…

Holidays could be a topic in part one of your IELTS Speaking test. You might…

One possible topic in part one of your IELTS Speaking test is festivals. And you…

• Listening Tests
• Academic Tests
• General Tests
• IELTS Writing Checker
• IELTS Writing Samples
• Speaking Club
• IELTS AI Speaking Test Simulator
• Latest Topics
• Vocabularying
• 2024 © IELTS 69

Write an essay about the film you like best

IELTS essay Write an essay about the film you like best

• Structure your answers in logical paragraphs
• ? One main idea per paragraph
• Include an introduction and conclusion
• Support main points with an explanation and then an example
• Use cohesive linking words accurately and appropriately
• Vary your linking phrases using synonyms
• Try to vary your vocabulary using accurate synonyms
• Use less common question specific words that accurately convey meaning
• Check your work for spelling and word formation mistakes
• Use a variety of complex and simple sentences
• Check your writing for errors
• Answer all parts of the question
• ? Present relevant ideas
• Fully explain these ideas
• Support ideas with relevant, specific examples
• ? Currently is not available
• Meet the criteria
• Doesn't meet the criteria
• 6 band how does movies or television influence people's behavior We should always be aware that movies and television have a great impact on people's behavior. The effects could vary, some are good while others are awful. Here are some of the effects that movies and TV's could have on a person: Fist of all, a person's mood is definitely influenced by the kind of ...
• 6 band Some people say that it is possible to tell a lot about a person’s culture and character from their choice of clothes. This has been going on since ancient times that the people are judging someone’s character and culture from their clothes. At first, I used to think this is all because of the illiteracy rate but I was wrong even the literate people thinks the same. I completely disagree from this statement “Wearing ...
• A foreign language is like a frail, delicate muscle. If you do not use it, it weakens. Jhumpa Lahiri
• 6 band 2. These days more fathers stay at home and take care of their children while mothers go out to work. What could be the reasons for this? Do you think it is a positive or a negative development? There has been a dramatic change in family role patterns in the recent century. The stereotype of the father as breadwinner is no longer valid since there is a transformation to dual-income family and in more recent years we witness home-staying fathers. There are some reasons for this new family pa ...
• 6.5 band Some people think that strict punishments for driving offenses are the key to reducing traffic accidents. Others, however, believe that other measures would be more effective in improving road safety. The issue of whether we should attempt to punish severely offensive drivers is certainly a contentious one. Despite the arguments of some people that there must be strict punishment to reduce such crimes, it is my personal belief that they should be more educational attempt to reach that goal. In th ...
• Learning a new language is becoming a member of the club – the community of speakers of that language. Frank Smith
• 5.5 band Every year several languages die out. Some people think that this is not important because life will be easier ig there are fewer languages in the world. with this opinion Every year, some languages disappear around the world. Some people believe that there is nothing wrong with this, as it will make life easier. I partly agree with this statement. However somewhere it is not correct if languages die out. In this essay i will talk about both of view why i agree and di ...
• 6 band Some people think that hosting an international sports event is good for the country, while some people think it is bad. There has been a wildly differing view on the topic of hosting international sports events. some people have positive garvity toward this occasion and point to its contless benefits while others stick to the cons. In this essay i aim to discuss both side of view and give my personal opinion. on the ...
• You can never understand one language until you understand at least two. Geoffrey Willans

• Call us Topics in English
• Privacy Policy
• terms of use

Topics in English Topics in english to learn and fluent pronunciation and writing and facilitate conversation between you and others, whether in school, work or daily life

Describe your favorite movie essay 3 models

Describe your favorite movie essay , that shows the quality of the favorite films that young people love and accept their views frequently, what are the reasons for their love and preference for these films, and whether they are present it in cinemas with friends or with your family members or your own.

Describe your favorite movie essay 

I am a student in stage ……. I love watching movies so I go to the cinema every week and it is the weekend, and my favorite film which I enjoy when I watch it is Science fiction film, because science fiction films develop a person’s thinking, and I usually like to go to the movies with my friends.

While my sister’s favorite film is romantic, she likes romantic films that talk about emotional problems. My sister loves these films because she knows many of the problems of teenagers and how to deal with these problems and identify the correct ways to solve emotional problems.

My mother’s favorite film is the social film. She likes to watch social films because these films present special problems for the family and the relationship of the husband to his wife, as well as the father’s relationship with the sons and the relationship of the children with each other, and also the problems of adolescents and the role of both the family and the school in solving these problems Related to drug use, and other things that harm the health and psychological health of young people.

My father’s favorite film is the historical film. My father loves historical films because we know the important historical events of previous years and the effects of these events on humanity, especially films dealing with wars such as World War I and World War II.

My favorite movie essay

Undoubtedly, there are many of my favorite famous films that are shown a lot on the cinema screen or on TV. But there is only one movie shown every year on New Year’s Eve that is beloved by all of us and we cannot get bored of it and it is Home alone.

This wonderful film describes a naughty child who has many naughty sisters, due to pressure and lack of attention from the mother, who forgets him alone at home and faces thieves and dangers in a funny, intelligent and planning way.

Since my childhood, this film represents a lot to me, whether from the comedic aspect or the intellectual aspect and the development of intelligence.

I found the story completely intricate and a wonderful performance by all the heroes, a creative portrayal that brings you into the atmosphere and makes you feel all the funny, sad and terrifying feelings.

I can say that this is my favorite movie that always makes me fall in love with it and I never get tired of watching it.

Describe your favourite movie essay

My favorite movie is Brave Heart, starring the great Mel Gibson. It was filmed in the nineties, but it is constantly shown on TV. I love this great work very much, there are many wonderful things in it such as, love, sincerity, trust, treachery, dream, sacrifice, ambition and planning.

The film presents many aspects of the qualities that exist in life, whether for the period contemporaneous with the events of the film, or to this day with different titles, names and jobs.

I liked the ending very much and found it realistic and did not have a wide imagination that underestimated the mind of the viewer.

We have provided you with an essay entitled with Describe your favorite movie essay, and you can read more through the following link:

• English essay

About admin

Related articles.

Value of Time Essay 3 Models

Car accident essay 6 models

Essay on car 10 models

Leave a reply cancel reply.

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

The evolution of movie-based musicals

It costs a lot of money to open a big musical on broadway—anywhere from $18 million to $32 million just to get in the door..

“The Lion King” marquee, 2005. Photo by Diego Torres Silvestre .

So, if you wanna be a producer and you have a golden ticket at your disposal to get you through that door more easily, who could blame you? Welcome to a whole new world where the golden ticket is synergy, branding and intellectual property on Broadway. “Intellectual property” is not a new phrase—it was supposedly coined in the 19th Century during an early copyright dispute—and it simply means a creative work from which income can be derived. The big difference, some 200 years later, is that intellectual property—TV shows, music catalogues, comic strips, and most of all, movies—can be marketed and sold to the American public in ever more profitable ways.

As the shopworn adage goes, on Broadway you can can’t make a living but you can make a killing; indeed the animated Disney film, “The Lion King,” earned nearly one billion dollars in worldwide box office release; however, the stage version, also playing around the world (and still doing very well on Broadway), has grossed ten times that amount. Talk about hakuna matata —no worries.

Currently, the most robust traffic on the stage regarding intellectual property comes from Broadway’s eternally complex dance with Hollywood.

There’s nothing new about adapting movies as the source material for musicals; the first significant adaptation was “Carnival in Flanders,” a 1953 bomb, which still yielded the standard “Here’s That Rainy Day.” The trend really began in earnest during the mid 1950s, with such screenplay-driven musicals as “Fanny and Silk Stockings” (based, respectively, on a trilogy of French films and the Greta Garbo movie, “Ninotchka”). Critics who condemn the latest tsunami of movie-based musicals have short memories; as an example, from the 1966-67 season to the 1972-73 season, Broadway played host to numerous musicals derived from original screenplays, including (but not exclusively): “Sweet Charity,” “Illya Darling,” “Henry, Sweet Henry,” “Golden Rainbow,” “Promises, Promises,’ “La Strada,” “Ari,” “Georgy,” “Applause,” “70, Girls, 70” “Sugar,” “A Little Night Music.” Do you immediately recognize the films on which they are based? Probably not, because in the past, theatrical producers went out of their way to distance their new stage properties from the cinematic source by creating a new identity for the musical show or at least by changing the title. (I’ve provided the answers in a postscript.*) When producer David Merrick bought the rights to Billy Wilder ’s film, “The Apartment,” and reimagined it as “ Promises, Promises ” in 1968, it wasn’t because he was hoping to cash in on the film’s “huge fan base.”

It’s hard to know exactly when Broadway realized it had more to gain than to lose by embracing its movie antecedents; there were a few outliers (“Destry Rides Again,” “Shenandoah”), but by the 1980s, when there was an explosion of original film musicals adapted directly to the stage (“42nd Street,” “Singin’ in the Rain,” ‘Meet Me in St. Louis,” etc.), it seemed futile to hold back the tide—why conceal what you were paying for?

The major difference in the 21st Century is that the film studios that own these potentially lucrative intellectual properties eagerly opened up their vaults and now actively produce or co-produce the stage musical version themselves. This trend was initiated by Disney Theatrical Productions, of course, setting up its own vast stage production division, staging and supervising multi-million dollar versions of “Tarzan,” “Mary Poppins” (originating on the West End, co-produced by Cameron Mackintosh), “The Little Mermaid,” “Newsies,” “Aladdin” and “Frozen” (itself a gloss on Broadway’s “Wicked”). Disney’s endeavors were largely successful, often with several shows running simultaneously; in fact, within its three-decade reign as a magic kingdom in Times Square, Disney shows have notched up a mind-boggling combined 25,000 performances—and counting.

“Legally Blonde” at the Palace Theater, 2008. Creative Commons Attribution .

Dreamworks followed in Disney’s big, yellow footsteps with “Shrek the Musical;” New Line Cinema helped underwrite its properties “Hairspray” and “The Wedding Singer,” MGM Onstage was behind “Legally Blonde,” “Chitty Chitty Bang Bang” and “Some Like It Hot” (the second Broadway version!); Columbia Live Stage, a division of Columbia Pictures, brought musical versions of their properties “Groundhog Day” and “Tootsie” to Broadway. Universal Pictures (as part of a number of different consortiums) was a pioneer in bringing “The Best Little Whorehouse in Texas” to Broadway, back in 1978, in exchange for the film rights and struck one of pop culture’s most prodigious gushers by shepherding “Wicked” to the stage (guess who’s distributing this year’s film version?). Sony Theatricals licensed one of their most enduring and valuable intellectual properties, your friendly neighborhood Spider-Man, to Broadway in 2011’s “Spider-Man: Turn Off the Dark.” Alas, it didn’t make many friends and closed as the biggest flop in Broadway history, losing $60 million of its investment; Sony did much better with its Michael Jackson catalogue in “MJ The Musical.”

Promoting intellectual property for Broadway in the 21st Century is not without its challenges.

“The Addams Family” marquee on Broadway, 2009. Photo by Gary McCabe .

There has to be a balance between something recognizable for fans and something compelling on its own terms for new customers. The branding synergy between a previously popular movie brand and its new stage equivalent can become increasingly determinate, at times even suffocating. The poster art and costume design concept for 2007’s “Legally Blonde” was intensely similar to its screen antecedent; after all, there was no way that MGM On Stage was going to waste its branding dollars by re-titling their new musical as “Elle!” or “What, Like It’s Hard?” One has sympathy for the patrons who spent $125 each for their tickets and were surprised not to find Reese Witherspoon appearing on-stage.

The stage analogues of “Ghost,” “A Christmas Story,” “School of Rock,” “Pretty Woman” and “Beetlejuice” were also particularly beholden to their film predecessors, directly deploying previous logos, designs and visual effects. In fact, “Young Frankenstein,” “Ghost,” “School of Rock,” “Doctor Zhivago” and “Beetlejuice” interpolated signature songs from the movie versions into their new scores, banking on the assumption that audiences would have been disappointed not to hear, say, the movie theme “Somewhere My Love” in a theater piece based on “Doctor Zhivago.” The creators of “The Addams Family” stage musical were determined never to use the television show’s immortal theme song in its score. Apparently, audiences during its pre-Broadway tour in Chicago were, to say the least, dismayed not to hear that beloved tune. A licensing contract was quickly drawn up and: Da-da-da-dum—Snap! Snap!

Still, although there seems to be a never-ending stream of film adaptations, not all of them are slavish or unimaginative.

The most successful of these versions tended to involve less well-known cinematic IP which gave the theatrical creative teams more room to expand their wings into more unpredictable directions. “Billy Elliot” was a British film from 2000 that garnered modest commercial and critical success, but the musical version of this Cinderella tale won the 2008 Tony Award for Best Musical, as well as nine other Tonys. Another non-commercial project, an Israeli movie from 2007 called “The Band’s Visit,” was given the Broadway treatment and was such a departure from the usual Broadway sound-and-fury that it captivated audiences and won ten Tonys (including Best Musical).

Perhaps it’s the smaller films, with less excess baggage of branding and preconceived notions that prove more adaptable to the critical expectations of the day; “The Bridges of Madison County,” “Waitress,” and this season’s “Days of Wine and Roses” (as well as “The Outsiders,” which also had its own famous fictional source to live up to) were more intimate musical narratives that engaged their cinematic inspirations in a less bombastic way, took what they needed from their intellectual properties, and offered audiences their own, new theatrical vocabulary.

Now, let’s assume that you’re a clever—if not crafty—Broadway producer (assume away!!). You might hit the trifecta by adapting a popular film or TV show into a hit Broadway stage musical and then adapt that stage show into a full-blown cinematic property; three bites at the IP apple, as it were. You’d also be lining up behind “Sweet Charity,” “Nine,” and the recent film of “Mean Girls” among others. That kind of luck only happens to a few Bialystocks and Blooms out there—and, of course, it even happened to the producers of “The Producers.”

*(In order: “Nights of Cabiria,” “Never on Sunday,” “The World of Henry Orient,” “A Hole in the Head,” “The Apartment,” “La Strada,” “Exodus,” “Georgy Girl,” “All About Eve,” “Make Mine Mink,” “Some Like It Hot,” “Smiles of a Summer Night”).

Laurence Maslon collaborated on the PBS six-part series “Broadway: The American Musical” and is the host of the weekly radio program, “ Broadway to Main Street ,” on WLIW-FM.

American Masters , produced by The WNET Group, brings Broadway and Beyond to the New York/CT/NJ area this May and June. If you live in the tri-state area, visit thirteen.org/broadway for more information.

Laurence Maslon is an arts professor at NYU's Tisch School of the Arts. He wrote two American Masters documentaries— Richard Rodgers: The Sweetest Sounds (2001) and Sammy Davis, Jr.: I've Gotta Be Me (2017)—and collaborated with American Masters executive producer Michael Kantor on three documentary series for PBS, including the Emmy Award-winning Broadway: The American Musical . He hosts and produces the weekly NPR radio program, "Broadway to Main Street," for WLIW-FM.

You May Also Like

Every product on this page was chosen by a Harper's BAZAAR editor. We may earn commission on some of the items you choose to buy.

The Best A24 Movies to Stream in 2024

Starring everyone from Jacob Elordi to Mahershala Ali and Michelle Yeoh

Putting acting talents like Robert Pattinson, Mahershala Ali, and Michelle Yeoh in front of the camera, and directors such as Greta Gerwig and Yorgos Lanthimos at the helm, A24’s offerings continue to garner fans all over the world. We’ve rounded up 20 of the best A24 movies to date—including intense dramas, unexpected romantic comedies, apocalyptic mysteries, and more.

Aftersun (2022)

Director Charlotte Wells made her directorial debut with 2022’s Aftersun , a coming-of-age drama starring Paul Mescal, who received an Oscar nomination for his performance. The film focuses on an 11-year-old girl named Sophie who embarks on a vacation to Turkey with her dad, Calum. Aftersun explores the complicated relationship between father and daughter, who attempt to bond after a period of separation, in spite of the personal problems they have.

Multi-award-winning documentary Amy showcases the incredible talent of British singer Amy Winehouse , while also exploring the tragic circumstances that led to her untimely death. The film chronicles her rise to fame, the huge success of her two albums, the troubling side of stardom, and the personal difficulties she experienced—including destructive relationships and health issues such as bulimia, self-harm, alcoholism, and drug addiction. Whether or not you’re a fan of Winehouse’s music, Amy is an intimate portrait of an icon.

Civil War (2024)

Alex Garland’s dystopian thriller stars Kirsten Dunst as photojournalist Lee, who is traveling across a warring United States, documenting the country’s unrest on the way. In Civil War , cavernous divisions have formed between the government and multiple factions of citizens, leading to violence, destruction, and fear. En route to interview the president, Lee and her colleagues contend with threats, both physical and existential.

Everything Everywhere All at Once (2022)

2022’s Everything Everywhere All at Once , directed by filmmaking team Daniel Kwan and Daniel Scheiner, took the world by storm. Spanning a multitude of genres, the movie follows Chinese-American immigrant Evelyn Quan Wang (Michelle Yeoh), whose IRS audit takes an unexpected turn involving parallel universes and an evil force intent on destroying the world. Yeoh stars alongside Jamie Lee Curtis, Stephanie Hsu, and Ke Huy Quan in the unmissable movie, which took home seven Oscars.

Lady Bird (2017)

Before 2019’s Little Women and 2023’s Barbie , Greta Gerwig established herself as an impressive directorial talent with 2017’s Lady Bird , starring Saoirse Ronan and Timothée Chalamet. The dreamy coming-of-age drama is set in Sacramento in the early 2000s, and explores the tense relationship between Christine/Lady Bird (Ronan) and her mom (Laurie Metcalfe). This relatable teenage story focuses on what it’s like to be a young person frustrated by your surroundings and searching for an escape.

Midsommar (2019)

Ari Aster’s follow-up to the equally terrifying Hereditary stars Florence Pugh as a young woman who travels to Sweden with her terrible boyfriend and his friends to attend a midsummer festival. Following the loss of her entire family, Dani is in a fragile place, but embraces the chance to immerse herself in a different country. However, something feels off about the commune they’re staying at, and it soon becomes clear that its residents have some… unique beliefs.

Minari (2020)

Writer-director Lee Isaac Chung drew inspiration from his own life for Minari , which tells the story of the Yi family, who leave South Korea for Arkansas in the 1980s. As the family attempts to build a life in their new country, they face tragedies and difficulties. Costarring Steven Yeun, Han Ye-ri, and Youn Yuh-jung, the movie received six Academy Award nominations, with Youn becoming the very first Korean to take home an Oscar for acting.

Moonlight (2016)

Barry Jenkins’s Moonlight took home three Academy Awards, including the coveted Best Picture Oscar, beating La La Land in dramatic fashion. Based on Tarell Alvin McCraney’s semi-autobiographical play, Moonlight tracks the life of a young man as he deals with complicated familial relationships, emotional and physical abuse, and his own sexuality. Featuring incredible performances by Trevante Rhodes, Mahershala Ali, Naomie Harris, and Janelle Monáe, Moonlight has rightfully been declared a masterpiece .

Obvious Child (2014)

Gillian Robespierre’s directorial debut is a love letter to abortion access if there ever were one. Jenny Slate stars as Donna, a heartbroken bookstore worker and comedian who accidentally gets pregnant after a one-night stand with Max (Jake Lacy), a man she meets at a bar. Combining elements of romantic comedy with discussions about the essentiality of abortion access, Obvious Child is an important movie, particularly at a time when women’s rights are under threat.

Past Lives (2023)

Greta Lee, Teo Yoo, and John Magaro star in Celine Song’s Past Lives , a romantic drama partially based on her own life experiences. Childhood sweethearts Nora and Hae are separated when Nora’s family leaves South Korea for Canada. Over the course of more than 20 years, Nora and Hae make intermittent contact with one another, and when they eventually meet face to face, she is married to an American named Arthur.

Priscilla (2023)

Based on Priscilla Presley’s book Elvis and Me , which tells the story of her romance with and marriage to rock ’n’ roll legend Elvis Presley, Priscilla is a delicate portrayal of a complex relationship. Cailee Spaeny takes on the role of Priscilla, a young girl who meets a 24-year-old Elvis (Jacob Elordi) when she is just 14 years old. Directed by Sofia Coppola, Priscilla tackles the darker side of Elvis’s life and relationships, and finally takes an honest look at the predatory nature of one of pop culture’s most famous romances.

Room (2015)

Based on the best-selling novel by author Emma Donoghue , who also penned the screenplay, Room is a taut and disturbing thriller starring Brie Larson and Jacob Tremblay. The movie tells the story of a woman who has been kidnapped and held captive by a man for seven years, giving birth to his son in the tiny prison constructed to keep them from getting away. The claustrophobic drama explores the longevity of trauma, and the terrifying escape attempts made by mother and son.

Talk to Me (2022)

Australian horror movie Talk to Me is not for the faint of heart. A group of bored teenagers attend a party at which a severed hand is the main attraction. One by one, the teens take part in a supernatural ritual, in which they hold the embalmed and seriously gross hand and utter the phrase, “Talk to me.” Each time, the person is overtaken by a creepy and often grotesque spirit, and it’s not long before the afterlife is infecting everyone’s day-to-day. You’ll be sleeping with the lights on long after the credits roll.

The Farewell (2019)

In The Farewell , Awkwafina stars as Billi Wang, a Chinese American woman whose family reunites when her grandmother Nai Nai is diagnosed with a terminal illness. The family decides to conceal Nai Nai's illness from her, using a number of conceits to explain their decision to stage an impromptu reunion. Written and directed by Lulu Wang, The Farewell won several high-profile awards, with Awkwafina winning Best Actress in a Musical or Comedy at the Golden Globe Awards for her performance.

The Iron Claw (2023)

Zac Efron, Jeremy Allen White, and Harris Dickinson star in Sean Durkin’s biographical drama about real-life wrestling family the Von Erichs. Raised in the world of professional wrestling, Fritz Von Erich’s sons follow in his footsteps, both finding success and meeting immense tragedy in the process. Taking place throughout the 1980s and ’90s, The Iron Claw explores the so-called “Von Erich curse” and the devastating events that led to the term being coined.

The Lobster (2015)

Yorgos Lanthimos directs this bizarre black comedy starring Colin Farrell, Rachel Weisz, and Olivia Colman. Following the breakdown of his marriage, David (Farrell) moves into a hotel for single people, which has some very strange stipulations: If residents don’t find love with another person within 45 days of moving in, they will turn into animals. While the deadline can be extended under certain circumstances, the pressure is on to find a partner and avoid a lifetime void of humanity.

The Witch (2015)

Anya Taylor-Joy made her feature film debut in Robert Eggers’s The Witch , a foreboding folk horror story about a Puritan family in New England in the 1630s. After being banished from the main settlement, the family starts to experience strange occurrences, including the mysterious disappearance of one of their children. It soon transpires that a witch lives in the woods near their farm, and satanic panic ensues.

The Zone of Interest (2023)

Loosely based on the book of the same name by Martin Amis , Jonathan Glazer’s adaptation takes place in the “zone of interest,” an area lived in by Nazi SS officers and their families on the land surrounding the concentration camp Auschwitz. The movie examines what the lives of Auschwitz commandant Rudolf Höss and his family may have been like, as they resided next door to the grievous death camp.

Uncut Gems (2019)

Josh and Benny Safdie’s New York crime thriller netted a ton of acclaim upon release, and it’s easy to see why. Adam Sandler stars as a Jewish-American jeweler with an unfortunate gambling addiction, who ends up in a race against time to retrieve a priceless gem he hopes can solve his problems. Costarring LaKeith Stanfield, Julia Fox, and Idina Menzel, Uncut Gems will have you on the edge of your seat, screaming that Sandler should have been nominated for an Oscar . No, really.

Zola (2020)

Zola is based on a series of tweets by Aziah “Zola” King, which went viral because of the wild story they told. In the movie, waitress and stripper Zola (Taylour Paige) is invited on a weekend road trip to Tampa by fellow stripper Stefani ( Riley Keough ), who claims they can make a lot of money. Their plans almost immediately descend into chaos, thanks to the presence of Stefani’s boyfriend (Nicholas Braun) and her so-called “roommate” X (Colman Domingo). An unmissable crime caper.

Amy Mackelden is a freelance writer, editor, and disability activist. Her bylines include Harper's BAZAAR, Nicki Swift, Cosmopolitan, Marie Claire, ELLE, The Independent, Bustle, Healthline, and HelloGiggles. She co-edited The Emma Press Anthology of Illness , and previously spent all of her money on Kylie Cosmetics.

Film, TV & Theatre

The Ending to “Bridgerton” S3 Part One, Explained

Everything We Know About It Ends with Us

It’s Luke Newton’s Turn to Lead Now

What to Know About Part 2 of “Bridgerton” Season 3

Twitter Rejoices Over the “Wicked” Trailer

Watch the First Wicked Trailer

Paris Hilton and Nicole Richie to Star in New Show

How to Stream the Hunger Games Prequel

Explaining the End of the "Hunger Games" Prequel

How “Back to Black” Honors Amy Winehouse’s Style

How to Stream Interview with the Vampire

The 15 Best Movies Like 'Se7en' For More Psychological Horror

"Innocent? Is that supposed to be funny?"

Se7en is such a dark and effective crime thriller that it's very easy to overlook how silly the title is, given it replaces a "v" with a "7," and so is seemingly pronounced " Sesevenen ." It was arguably David Fincher 's first great film, and has a plot that follows two detectives going after a dangerous serial killer who appears to be committing a series of murders that are each based on one of the seven deadly sins.

It's the sort of movie that's proved to be influential and remarkably popular in the years since its release (even getting a 4k remaster ), and at the same time, it's possible to see certain titles released before Se7en as influencing it and its dark neo-noir narrative. The following movies all have certain similarities to Fincher's 1995 film and are worth checking out for fans of dark, twist-filled, and sometimes stomach-churning crime, thriller, and mystery movies .

15 'Zodiac' (2007)

Directed by david fincher.

David Fincher has numerous movies that could be classified as psychological thrillers, but of them all, 2007's Zodiac is probably the one that's most comparable to Se7en . This is because narratively speaking, each follows a group of characters (two detectives in Se7en , and three different men in Zodiac ) as they desperately search for an elusive killer who's at large, and terrifying thousands – if not millions – of people in the process.

Of course, Se7en is fictitious, while Zodiac is based on a real-life case, and follows people who really did try and locate the infamous Zodiac Killer in and around San Francisco. It's an incredibly compelling crime movie, and though it has similarities to Se7en , it ultimately becomes something quite different in its final act , given it chooses to explore obsession and the damage one can do when pursuing something too relentlessly. All in all, Zodiac is a massively compelling crime movie .

*Availability in US

14 'The Silence of the Lambs' (1991)

Directed by jonathan demme.

For as great as Se7en is, it ultimately has some tough competition when it comes to naming the best American crime/mystery movie of the 1990s, seeing as that decade also saw the release of The Silence of the Lambs . It's an amazingly well-written movie, impeccably acted, and perhaps the best film or TV series yet to feature the character of Hannibal Lecter.

He's played here by Anthony Hopkins in arguably the actor's most well-known performance, with the plot centering around a young FBI agent ( Jodie Foster ) forming an uneasy alliance with a captive Lecter, who may be able to give her assistance in catching another killer who's at large. Beyond the writing and acting, it's also hard to fault the directing, visuals, music... and everything about The Silence of the Lambs , really. It's just great all around, and one of the very best movies of the 1990s .

The Silence of the Lambs

Watch on Fubo

13 'Insomnia' (2002)

Directed by christopher nolan.

Insomnia might well be the most underrated movie directed by Christopher Nolan , with it sitting between two other films of his – Memento in 2000, and Batman Begins in 2005 – that are more well-known. It's more comparable to the former than the latter, being a psychological thriller about losing one's grip on reality while also investigating a murder. Funnily enough, it's probably one of the least mind-bending and most comprehensible movies Nolan's directed .

It might not be as popular as other Nolan movies, due to it feeling a little more straightforward than some of his twistier, more mind-bending movies, and because he didn't have a writing credit on the film either. But it is an engaging and well-made crime/thriller that scratches the same itch Se7en does , and also boasts a great cast that includes Al Pacino , Robin Williams , and Hilary Swank .

12 'Gone Girl' (2014)

Another unpredictable thriller directed by David Fincher, Gone Girl might not be as brutally dark as Se7en , but it still manages to be pretty surprising. It's about a man who comes under scrutiny from the media and the law after his wife suddenly vanishes, with some believing that he could've murdered her, with him maintaining his innocence all the while.

To say more about the plot would undo much of what makes Gone Girl great, and even though it's nearly 10 years old and is based on an even older book, it still contains secrets worth keeping. Perhaps that's one of the best things one could say about a thriller, ensuring Gone Girl's a great one. By 2014, Fincher had proven he could essentially make great psychological thriller and mystery movies in his sleep , with Gone Girl being yet another indicator that few directors can tackle the genre as well as him.

Not available

11 'Saw' (2004)

Directed by james wan.

Having a one-word title that begins with "S" isn’t the only commonality shared between Se7en and Saw . The latter seems to have taken a decent amount of inspiration from the former, especially with so much of the 2004 film functioning like a police procedural. Of course, a good chunk of the sequels doubled down on the torture/psychological mind-game side of things, upping the amount of on-screen carnage considerably.

But the original Saw was mostly concerned with tension and a consistent sense of unease, centering on two men trapped in a terrible situation and the steps taken by a determined detective who wants to take down the mysterious figure who might be responsible for holding the two men captive. The film’s writer, Leigh Whannell , was upfront about taking inspiration from Se7en , and it should be noted that Saw still does enough to stand on its own and not feel entirely derivative .

10 'Cure' (1997)

Directed by kiyoshi kurosawa.

A blend of crime, mystery, and horror genres that’s particularly loved on Letterboxd , Cure is a movie about a desperate and perhaps even futile search for answers behind a series of killings in Japan. Bucking the trend of many comparable horror/crime movies, there isn’t a single human culprit, because the various murders all have different perpetrators, and none of them seem to remember committing the oddly similar crimes in question.

Cure features a detective and psychologist tasked with looking into the entire strange case, and it therefore understandably functions well as a work of psychological horror. It’s also a film defined by how intense and unnerving the atmosphere throughout is , and everything adds up to a distinctive and dark film that’s ultimately as gripping as it is inevitably grim.

Watch on Criterion

9 'The Girl with the Dragon Tattoo' (2011)

Another intense movie by David Fincher , The Girl with the Dragon Tattoo saw the director taking on a particularly chilly story adapted from the Swedish novel of the same name. It is more focused on being a crime/thriller movie than it is a work of horror. In fact, outside some confronting scenes, it wouldn’t really feel right to call The Girl with the Dragon Tattoo a horror movie; more just a thriller that sometimes gets horrifying when it comes to content.

It pairs a journalist with a hacker, both working together to uncover an alarming series of events related to a disappearance that was first reported decades in the past . The Girl with the Dragon Tattoo unfolds over a rather long runtime of over 2.5 hours, but mostly earns that kind of length and stays compelling throughout.

The Girl With the Dragon Tattoo (2011)

8 'the exorcist iii' (1990), directed by william peter blatty.

In contrast to something like The Girl with the Dragon Tattoo , The Exorcist III is a mystery/horror movie that certainly emphasizes horror, but retains something of a crime-focused feel with a story about uncovering a serial killer. It does fit within the overall Exorcist series, but the narrative at hand helps it feel distinguished from the original film, and the other (generally less high-quality) entries in the series.

The Exorcist III revolves around Lieutenant William F. Kinderman, who was a supporting character in the first movie, and how he goes to great lengths to uncover the truth behind the infamous Gemini Killer. It’s certainly a slow burn, as far as mystery movies go, but it combines a well-executed plot with plenty of memorable scares to make for a surprisingly good sequel, and certainly the best Exorcist movie that isn’t the 1973 original .

The Exorcist III

7 'collateral' (2004), directed by michael mann.

While Se7en is mostly concerned with the people trying to catch a serial killer, Collateral forces viewers to go along with a man who kills frequently and without remorse, working as an assassin. Similarly, the film’s other main character, a cab driver, is made to go along with this violent lifestyle for a while, too, with the assassin seeking his assistance in getting from one location to the next.

It unfolds over a short period of time, keeping the tension high throughout and serving as a great character study for both men. Jamie Foxx is reliably good as the cab driver, but Tom Cruise's villainous turn is perhaps the most surprising part of the movie, playing the killer shockingly well , especially considering the actor doesn’t take on purely antagonistic roles all that often (though he’s very good at it, as Collateral shows).

6 'I Saw the Devil' (2010)

Directed by kim jee-woon.

There's no shortage of great South Korean thrillers out there, especially within the past couple of decades. Of them all, I Saw the Devil is easily one of the best, and arguably one of the most extreme, too, with its dark story about a secret agent who goes to drastic lengths to track down and get revenge on a notorious serial killer after his fiancé is found murdered.

Once the plot really gets going, I Saw the Devil plays out like a constant – and ferocious – nightmare, going from one violent, stomach-churning scene to the next, all building up to an alarming climax. It's a truly horrifying movie – perhaps one of the darkest, bleakest, and grittiest crime movies released in recent memory. Indeed, it's one that might prove too extreme for some, but for those wanting something even darker and more intense than Se7en , it may be worth checking out .

I Saw the Devil

5 'nightcrawler' (2014), directed by dan gilroy.

Like Se7en , Nightcrawler is also classifiable as a neo-noir movie , and goes to some extremely dark places, though has an overall very different premise. It follows a man named Lou Bloom, and the increasingly desperate lengths he'll go to for the purposes of capturing crime scene footage that he can then sell to a news station.

It's a movie that's unafraid to play out with a cast of very flawed characters, and it certainly has an overall pessimistic attitude toward the media and perhaps humanity as a whole. Despite this, Nightcrawler is incredibly engaging and well-paced, and for being such a bleak yet stylish and breakneck movie, it'll likely appeal to those who liked Se7en . As a character study of a particularly dangerous man - played with immense success by the always dedicated Jake Gyllenhaal - it's gripping stuff.

Nightcrawler

4 'vengeance is mine' (1979), directed by shōhei imamura.

A Japanese crime film that would've felt even more shocking when it was first released in the late 1970s, Vengeance Is Mine is an underrated movie centered around a serial killer. Said killer's name is Iwao Enokizu, and the movie presents his exploits in a very matter-of-fact way that arguably stands to make his on-screen crimes even more disturbing, making this a phenomenal Japanese movie that, while not super famous, does have a good level of acclaim to its name.

He's also constantly on the run throughout the movie, with the police always on his tail and attempting to put a stop to his violent crime spree. That whole dynamic – and the brutality of the film – gives it some similarities to Se7en , though Vengeance Is Mine does admittedly stand out for making the killer the main character , given things are shown primarily from his point of view.

3 'Prisoners' (2013)

Directed by denis villeneuve.

Given he also starred in the aforementioned Zodiac and Nightcrawler , Jake Gyllenhaal seems to be an actor who's well-suited to dark crime/thriller movies. He also stars in Prisoners alongside Hugh Jackman , with this 2013 film being about a father going to desperate lengths to find his young daughter after she goes missing one day.

It was directed by Denis Villeneuve , who's no stranger to dark psychological thrillers (at least when he's not directing sci-fi blockbusters like Blade Runner 2049 and Dune ). He's also no stranger to directing some of the best movies in recent memory, especially throughout the 2010s. Prisoners is a movie that keeps the tension high throughout, is emotionally intense, and is willing to explore some dark themes while telling a story that sees its characters go to similarly dark places.

2 'Memories of Murder' (2003)

Directed by bong joon-ho.

Bong Joon-ho 's Memories of Murder was not the acclaimed director's first film, but it was the first movie of his to get significant attention on an international scale. It's one of the best films the South Korean director's ever made, which is truly saying something given the high quality of his work over the past couple of decades.

Memories of Murder has a narrative inspired by true events, and follows two detectives investigating a series of brutal murders in Hwaseong during the 1980s. As far as crime movies go, it's up there with some of the bleakest, but the hopelessness and desperation of the narrative and its characters is largely what makes Memories of Murder so impactful and ultimately memorable. As far as South Korean crime movies go, Memories of Murder is easily one of the very best.

Memories of Murder

1 'the house that jack built' (2018), directed by lars von trier.

There are plenty of shocking and disturbing movies directed by Lars von Trier , with 2018's The House That Jack Built arguably being his most confronting, at least when it comes to violence. It's an unflinching look at the life (and mind) of a serial killer named Jack, as he revisits a series of grisly crimes he committed over a 12-year period.

The movie has a very dark sense of humor at times, but not to the point where it ever diminishes the horror inherent within the story it tells. The House That Jack Built is an incredibly interesting and disquietingly engrossing movie , and certainly pushes the boundaries as far as crime/thriller movies go. Like I Saw The Devil , it's probably only recommendable to people who felt they could handle something like Se7en reasonably well. In fact, it's even possible to argue that The House That Jack Built is somehow even darker.

The House That Jack Built

Watch on Hulu

NEXT: The Best Thrillers of All Time, Ranked

'If' movie review: Ryan Reynolds' imaginary friend fantasy might go over your kids' heads

Even with likable youngsters, a vast array of cartoonish characters, various pratfalls and shenanigans, and Ryan Reynolds in non- Deadpool mode, the family comedy “IF” isn’t really a "kids movie" – at least not in a conventional sense.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy (★★½ out of four; rated PG; in theaters Friday), which centers on a young girl who discovers a secret world of imaginary friends (aka IFs). What it can’t find is the common thread of universal appeal. Yeah, children are geared to like any movie with a cheery unicorn, superhero dog, flaming marshmallow with melting eye and assorted furry monsters. But “IF” features heady themes of parental loss and reconnecting with one’s youth, plus boasts a showstopping dance set to Tina Turner, and that all leans fairly adult. Mash those together and the result is akin to a live-action Pixar movie without the nuanced execution.

Twelve-year-old Bea (Cailey Fleming) doesn’t really think of herself as a kid anymore. Her mom died of a terminal illness and now her dad (Krasinski) is going into the hospital for surgery to fix his “broken heart,” so she’s staying with her grandma (Fiona Shaw) in New York City.

When poking around her new environment, Bea learns she has the ability to see imaginary friends. And she’s not the only one: Bea meets charmingly crusty upstairs neighbor Cal (Reynolds) as well as his IF pals, like spritely Blossom (voiced by Phoebe Waller-Bridge) and overly sensitive purple furry monster named Blue (Steve Carell). They run a sort of matchmaking agency to connect forgotten IFs whose kids have outgrown them with new children in need of their companionship, and Bea volunteers to help out.

'Welcome to Wrexham': Ryan Reynolds talks triumph, joy and loss of new season

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Bea is introduced to an IF retirement community located under a Coney Island carousel with a bevy of oddball personalities in the very kid-friendly middle section of the movie. “IF” low-key has the most starry supporting cast of any movie this summer because of all the A-listers voicing imaginary friends, an impressive list that includes Emily Blunt and Sam Rockwell as the aforementioned unicorn and superdog, Matt Damon as a helpful sunflower, George Clooney as a spaceman, Amy Schumer as a gummy bear and Bradley Cooper as an ice cube in a glass. (It's no talking raccoon, but it works.)

One of the movie's most poignant roles is a wise bear played by Louis Gossett Jr. in one of his final roles. Rather than just being a cameo, he’s nicely central to a key emotional scene.

While the best family flicks win over kids of all ages, “IF” is a film for grown-ups in PG dressing. The movie is amusing but safe in its humor, the overt earnestness overshadows some great bits of subversive silliness, and the thoughtful larger narrative, which reveals itself by the end to be much more than a story about a girl befriending a bunch of make-believe misfits, will go over some little ones’ heads. Tweens and teens, though, will likely engage with or feel seen by Bea’s character arc, struggling to move into a new phase of life while being tied to her younger years – not to mention worrying about her dad, who tries to make light of his medical situation for Bea.

Reynolds does his part enchanting all ages in this tale of two movies: He’s always got that irascible “fun uncle” vibe for kids, and he strikes a fun chemistry opposite Fleming that belies the serious stuff “IF” digs into frequently. But unless your child is into old movies, they probably won’t get why “Harvey” is playing in the background in a scene. And when “IF” reaches its cathartic finale, some kiddos might be wondering why their parents are sniffling and tearing up – if they're still paying attention and not off playing with their own imaginary friend by then.

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

Cannes unsold gems: the best films yet to land u.s. distribution.

From a Federico Fellini homage with Lily James and Willem Dafoe and a doc about attempts to unionize Amazon workers to a magnum opus of family dysfunction, here are five titles still up for sale.

By Scott Roxborough , Mia Galuppo May 18, 2024 10:00pm

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Email
• Show additional share options
• Share this article on Linkedin
• Share this article on Pinit
• Share this article on Reddit
• Share this article on Tumblr
• Share this article on Whatsapp
• Share this article on Print
• Share this article on Comment

THR  puts the spotlight on the best films from the festival circuit that have yet to land a U.S. distribution deal .

La Cocina  Directed by Alonso Ruizpalacios Sales WME Independent, Fifth Season

Related Stories

Saudi arabia's film alula is "moving full steam ahead", cannes legend jia zhangke on his "very emotional" new film 'caught by the tides'.

Union Stephen Maing and Brett Story Sales Submarine

Offering impressive access and even more impressive restraint, the film focuses on a fledging Amazon Labor Union and its leader Chris Smalls, as well as organizers and potential union members. “Without devaluing the heroism of Smalls’ crusade or underselling the general inhumanity of Amazon’s treatment of its lowest-level workers,  Union  sets out to be something closer to a warts-and-all process documentary,” reads  THR ’s review out of Sundance. Yes, there is a heated showdown with police and cellphone footage of the company’s union-busting propaganda, but the film doesn’t shy away from the monotony and disillusionment that go along with the hard fight of labor organizing.

Any studio, streamer or specialty label with a news-centric sister company is sure to find value in  Union . The fight for the Amazon Labor Union is undoubtedly a story that someone is likely to fictionalize some day, but Maing and Story’s doc has all the drama and intrigue that a narrative feature could offer. 

Finally Dawn  Saverio Costanzo Sales UTA

There’s Still Tomorrow Paola Cortellesi

Paola Cortellesi’s directorial debut is nothing less than a phenomenon. The black-and-white dramedy smashed box office records, earning about $40 million in Italy alone, outpacing  Barbie  to become the biggest movie in the territory last year. Set in Rome in 1946, a few days before the first-ever Italian referendum where women got to vote,  There’s Still Tomorrow  sees Cortellesi, one of Italy’s best known actresses and comedians, playing Delia, a woman with an abusive, moronic husband ( Perfect Strangers  star Valerio Mastandrea) who longs for emancipation both for herself and her daughter. The film’s success has triggered a nationwide political movement in Italy to combat domestic violence.  There’s Still Tomorrow  was screened in the Italian Senate to mark the U.N.’s International Day for the Elimination of Violence Against Women. There have been screenings for hundreds of thousands of high school students across the country. 

Dying Matthias Glasner Sales The Match Factory

To quote  THR ’s Berlin Film Festival review, Matthias Glasner’s  Dying  is full of “life, death and everything in between.” Glasner goes for broke in his eighth feature, delivering a magnum opus of family dysfunction. By turns wrenchingly sad and frighteningly dark, the film also manages, despite its subject matter (aging, death, depression and addiction, among other things), to be incredibly funny.

The story centers on Tom, a Berlin orchestra conductor (a phenomenal Lars Eidinger) battling demons both personal and professional. He struggles to mount a performance of “Sterben” (“Dying”), an original composition by his suicidal best friend, Bernard (Robert Gwisdek), but is constantly being pulled back into the maelstrom of his volatile family. His icy and sharp-tongued mother (Corinna Harfouch) is dying of cancer. His wild alcoholic sister (Lilith Stangenberg) has begun an affair with a married man. His gentle father (Hans-Uwe Bauer) has Parkinson’s and advanced dementia and is prone to wander pants-less through the streets. 

THR Newsletters

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

‘the balconettes’ review: noemie merlant’s genre-bender about female friendship and sexual violence is a hot mess, ‘rumours’ review: cate blanchett and alicia vikander play clueless world leaders in guy maddin’s very funny, truly silly dark comedy, box office: john krasinski’s ryan reynolds ‘if’ improves to $35m opening for no. 1 finish, ‘limonov: the ballad’ review: ben whishaw in kirill serebrennikov’s perplexing portrait of a russian writer and dissident, sony brings stable of filmmakers to cannes for columbia 100th anniversary bash, filmmaker claude barras gets animated in cannes with stop-motion feature ‘sauvages’.

• Cast & crew

The Best Christmas Pageant Ever

Nobody is ready for the mayhem and surprises that ensue when six of the worst youngsters disrupt the town's yearly Christmas performance. Nobody is ready for the mayhem and surprises that ensue when six of the worst youngsters disrupt the town's yearly Christmas performance. Nobody is ready for the mayhem and surprises that ensue when six of the worst youngsters disrupt the town's yearly Christmas performance.

• Dallas Jenkins
• Platte Clark
• Darin McDaniel
• Ryan Swanson
• Lauren Graham
• Elizabeth Tabish

• Self - Narrator

• George Armstrong

• Mrs. Thomas

• Reverend Hopkins

• First-grade teacher

• Gladys Herdman

• Charlie Bradley

• Alice Wendleken

• Claude Herdman

• Mrs. Wendleken

• Imogene Herdman

• Ollie Herdman

• Mrs. Hopkins
• All cast & crew
• Production, box office & more at IMDbPro

More like this

• November 8, 2024 (United States)
• Winnipeg, Manitoba, Canada
• FletChet Entertainment
• Kingdom Story Company
• Lionsgate Productions
• See more company credits at IMDbPro

Related news

Contribute to this page.

• See more gaps
• Learn more about contributing

More to explore

Recently viewed

More From Forbes

Namit malhotra film industry titan brings hindu mythology to hollywood.

• Share to Facebook
• Share to Twitter
• Share to Linkedin

From the Ramayana that includes Rama, Lakṣmaṇa and Ravaṇa. The painting is framed by a red, green ... [+] and gold border, which has been adhered to the paper. Artist unknown (Photo by Pierce Archive LLC/Buyenlarge via Getty Images)

One of the most highly anticipated animated films of the year, “The Garfield Movie,” is set to release on May 24 bringing a beloved character and a bit of nostalgia to the big screen. However, audiences may not have had the opportunity to see this film if it wasn't for producer Namit Malhotra. In the middle of the pandemic, he got the ball rolling with a call to Alcon Entertainment and the pieces came together to get a film about everyone’s favorite lazy, lasagna-eating cat off the ground. Over the last 30 years, Malhotra has been a magic maker in both Hollywood and Bollywood.

A third-generation filmmaker, Malhotra’s journey began in 1995 with a garage start-up in Mumbai, a single Apple Mac computer, and a vision that convinced three tutors from a computer graphics course he was taking to join him, creating Prime Focus. Within 10 years Prime Focus became India’s largest independent media services company pioneering a series of technology firsts in the Bollywood film industry. Malhotra’s success in India led him west, first to the UK followed by the US. A series of acquisitions quickly followed, giving way to the creation of a global footprint for Prime Focus, bridging the gap between east and west.

In 2014, Prime Focus acquired the British visual effects company Double Negative, where Malhotra became CEO of the newly rebranded DNEG. Prior to the acquisition Malhorta worked on epic 3D movies like “Avatar” and “Journey to the Center of the Earth.” The acquisition allowed the company to create a global network of premier visual effects and animation studios, growing the company's headcount from 700 to over 9,000 and adding new services and divisions.

Namit Malhotra, Producer and DNEG Chairman and CEO.

“Those movies really gave us the impetus to step up to the next level. ‘Avatar’ then led to a whole bunch of projects from “Star Wars” to ‘Transformers” and “Harry Potter”,” he said. These achievements successfully set up DNEG for the next stage of explosive growth. In August 2021, Malhotra oversaw an investment of $250 million by Novator Capital Advisers, LLP in subsidiaries of Prime Focus Limited, positioning DNEG to capitalize on the high demand in the content services marketplace and to explore opportunities in adjacent categories and formats, including gaming and original content and IP creation.

Here Are The Major Allegations Against Sean Diddy Combs As Rapper Apologizes For Disturbing Video

Apple ios 17 5 major iphone software release should you upgrade, baby reindeer piers morgan seeks richard gadd for interview after real martha appearance.

DNEG has been recognized by the industry with seven Academy Award wins for Best Visual Effects and continues to work with iconic filmmakers to help bring their visions to life. Recent work includes the upcoming “Furiosa: A Mad Max Saga,” as well as “Oppenheimer” and “Dune: Part Two,” to name a few. Malhotra's next act is to fuel more diversity in American content with a feature film capturing Hindu mythology as a Hollywood production by bringing the Hindu scriptures known as the Ramayana to life on the silver screens.

Malhotra has always been at the forefront of intersecting film, innovative solutions, and technology. With his experience of cross-intersecting Bollywood and Hollywood, he felt it was time to bring the story of “Ramayana” to the world. The Ramayana is one of the great epic poems of India composed in Sanskrit by the poet Valmiki . The poem describes the royal birth of the god Rama in the kingdom of Ayodhya (Oudh), his tutelage under the sage Vishvamitra, and his success in bending Shiva’s mighty bow at the bridegroom tournament of Sita, the daughter of King Janaka, thus winning her for his wife.

King Dasaratha and His Retinue Proceed to Rama's Wedding: Folio from the Shangri Ramayana Series ... [+] (Style II), circa 1690-1710. Artist Unknown. (Photo by Heritage Art/Heritage Images via Getty Images)

“Again this is something that we spent a lot of years developing, building it towards this opportunity. We feel the time has come where we can bring an original Hindu story to the masses. We have not seen this story being told visually to its greatest potential like a Marvel or ‘Dune’ movie. We are taking that same approach, or the philosophy, while having extra reverence for the belief system and for the people of India, for them to see their story and their culture be presented in a way that no one ever has done. It's a great opportunity. The glue that can help shape and connect the two sides of the world to appreciate each other's culture much more closely,” he shared.

Malhotra shows no signs of slowing down. In addition to Producer credits on “Ramayana,” and “The Garfield Movie,” there are more high-profile projects in the pipeline including the upcoming feature film, “Animal Friends” for Legendary Entertainment. Whether he’s securing financing, collaborating with directors, or building a brand new VFX studio to accommodate production as he did for “Furiosa” in Australia, Malhotra is also the ultimate storyteller committed to creating content for a global audience.

• Editorial Standards
• Reprints & Permissions

Join The Conversation

One Community. Many Voices. Create a free account to share your thoughts. 

Forbes Community Guidelines

Our community is about connecting people through open and thoughtful conversations. We want our readers to share their views and exchange ideas and facts in a safe space.

In order to do so, please follow the posting rules in our site's  Terms of Service.   We've summarized some of those key rules below. Simply put, keep it civil.

Your post will be rejected if we notice that it seems to contain:

• False or intentionally out-of-context or misleading information
• Insults, profanity, incoherent, obscene or inflammatory language or threats of any kind
• Attacks on the identity of other commenters or the article's author
• Content that otherwise violates our site's  terms.

User accounts will be blocked if we notice or believe that users are engaged in:

• Continuous attempts to re-post comments that have been previously moderated/rejected
• Racist, sexist, homophobic or other discriminatory comments
• Attempts or tactics that put the site security at risk
• Actions that otherwise violate our site's  terms.

So, how can you be a power user?

• Stay on topic and share your insights
• Feel free to be clear and thoughtful to get your point across
• ‘Like’ or ‘Dislike’ to show your point of view.
• Protect your community.
• Use the report tool to alert us when someone breaks the rules.

Thanks for reading our community guidelines. Please read the full list of posting rules found in our site's  Terms of Service.