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A great drama can be spellbinding when spun from worthy and considerate hands. Arguably, it’s the most authentic form of cinema. Drama relies on the exploration of conflict, a long-held narrative tool. Conflict, of course, demands emotion.
From time to time, in the realm of modern cinema and, in its past, there’s a somewhat habitual temptation to touch a little too eagerly on melodrama, or overindulge in style over substance. In this case, it can be helpful to look elsewhere for inspiration.
Take Shelter
Jeff Nichols’ influence on the film resulted from a feeling he perceived in the world, a sense of anxiety that everything we hold dear could be gone in an instant. There are elements of genuine sincerity behind this quietly moving film, and Nichols' words contain real weight. Beneath this more apparent theme, though, lies the film's real beating heart.
This is a film about marriage, family, and commitment. Haunted by a series of apocalyptic visions, Curtis (Michael Shannon) takes literal measures to protect his wife (Jessica Chastain) and young daughter from a coming storm, despite societal adversity and doubts over his own mental stability. In truth, there’s a lot one can derive from the poignant and dedicated familial relationship depicted here.
La Haine
Mathieu Kassovitz’ gritty, social-realist drama takes the infamous Paris riots as its cultural inspiration. Taking place the day after, the film depicts 24 hours in the lives of three young men from the Paris Banlieue suburbs.
La Haine translates to ‘hate’ in English, and it’s aptly named. It’s as much a film about the perils of a hateful existence as it is an exploration of urban realism. Paris presents a problematic existence and, through the embittered perspectives of three ethnically-diverse characters, we see the narrative tackle pertinent and troubling themes of racial tension and police brutality.
Blue Valentine
An unconventional romantic drama, Blue Valentine’s biggest strength lies in its openness and more frank depiction of a troubled and ultimately doomed romance. Ryan Gosling and Michelle Williams star in Derek Cianfrance’s contemporary tale of a married couple.
A tone of sincerity is induced by the pairs candid performances. By cutting between different time periods, notably the beginning and the present of the relationship, Cianfrance is able to portray a stark contrast between the films central couple, both in terms of visual style and character disposition. In a larger consensus, much in the film is layered to critique the more stereotypical characteristics we might associate with conventional romance films.
Arrival
Director Denis Villeneuve took a risk with Arrival. In crafting this high-concept, sci-fi drama, he worked with screenwriter Eric Heisserier to create an alien language. The risk paid off. Arrival is built on the back of some intelligent and thoughtful planning, all the hallmarks of great sci-fi.
The plot takes place following an “alien invasion” as twelve mysterious spacecraft appear all around the world. Linguist Louise Banks (Amy Adams) works with the military in the hopes of communicating with the alien lifeforms onboard. Adams, as ever, brings a steely resonance to her character, full of depth and genuine emotion. Her story is the emotional drive and drama of the story, pulling us along to the conclusive twist, which, feels gratefully merited and uncontrived.
Parasite
Bong Joon-ho’s multi-genre satire is arguably the perfect screenplay; depicting social inequality and classism, Parasite captures family drama at its core. The movie unfolds in South Korea, as the impoverished Kim family manipulate their way into the service and livelihood of the wealthy Park family.
Joon-ho’s molding of thematic concerns in a narrative layered with compelling tonal shifts speaks volumes of his ability in the craft. Like an enthralling novel, this is one that’s impossible to turn away from.
12 Angry Men
Sidney Lumet's directorial debut plays out like a tutorial for aspirational directors. The sole location of a jury room helps to aid the films intensive tone, but in its most earnest form, this is how you make a simple yet captivating drama.
The conflict in play is derived from a contrast of mindsets, exploring how the distinction of “indisputable evidence” can be varied depending on the perspectives of those involved. The compassionate Juror 8 (Henry Fonda) and his use of caution and reasonable doubt frustrate a jury who seem intent on a guilty, unanimous verdict in a murder trial. Ultimately, his insistence leads to a reconsideration of the evidence they were presented with.
Amores Perros
The first in Alejandro Gonzalez Inarritu’s The Trilogy of Life, Amores Perros connects three separate but interlinked stories of love and life’s harsh realities. Its use of interwoven storylines feels almost Pulp Fiction-esque, though, this is surely a more evocative and poetic undertaking.
Amores Perros’pulls you in with its breathtaking vision of clarity, depicting a gritty and complex Mexico City. Inarritu's film channels its thoughtful provocation through a collection of weary characters, who, despite their struggles, act mostly out of love for their partner, friend and even their dogs.