I watched the movie 38 recently and struggled to form any real connection with it. That got me thinking about the kinds of stories films tend to tell, and how those patterns shape our expectations. More often than not, movies feel formulaic because they overwhelmingly follow a centuries-old narrative structure, rooted in Aristotle’s Poetics and later formalized into the three- or five-act format and the “hero’s journey” monomyth. This structure, now codified by screenwriting gurus and the story-structure industry, is so pervasive that even experimental films often conform to its hidden scaffolding.
The formula persists because it offers audiences a sense of order, transformation, and hope, but it also reinforces conformity, subtly promoting conservative values and the status quo. Maybe that is what the audience craves or perhaps the "system" wants them to.
38 rejects all of that. It breaks away from the traditional hero’s journey and linear storytelling in favor of a fragmented, introspective structure. Instead of following a clear arc of conflict, transformation, and resolution, the film immerses viewers in the fractured psyche of a thirty-eight-year-old woman obsessed with the social media life of the younger woman who ended their relationship. The narrative unfolds through vivid interruptions of sound and image, reflecting the protagonist’s internal turmoil and the blurred boundaries between online and real life. It refuses to move toward a tidy conclusion or any kind of restored normalcy.
While I appreciated the movie on its artistic merits, it left me feeling unsatisfied and disoriented, maybe because I missed the familiar scaffolding I’ve grown so used to.