Scenes are the building blocks of screenwriting. They are more than stepping stones from the start to the end of your screenplay. They need thought, purpose, and effectiveness to make them feel like a seamless journey across your story. Scenes should be thought of as interlinking pieces of a story puzzle rather than components that can randomly be shuffled and rearranged. They should be self-contained vertebrae along the s pine of your story.
Here are some things writers should consider before they start writing each scene:
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Purpose
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This actively defines what story components the writer wants to convey in a particular scene. This is more than describing what happens. It&#8217;s also about why it happens, how it happens, and who it happens to? To begin, think about the location and unfolding elements of surprise. Audiences love surprises that alter their frame of reference a few degrees and invite them to connect deeper.
For example, if you&#8217;re writing a romantic comedy, there is an inevitable &#8220;meet cute&#8221; moment when couple meets. We&#8217;ve all seen strangers  bumping into each other in a bar or in the produce section of the grocery store. (The sweet and juicy metaphor is on full display here). Where else could the fated couple meet? At a zoo? Prison? Court? A silent zen retreat? Stuck in an elevator?
Your job as a screenwriter is to decide that a couple (or more) will meet at a certain point and make that place and their circumstances as surprising as possible. Audiences should be thinking, &#8220;I haven&#8217;t seen such a familiar scenario play out in such an unfamiliar way.&#8221;
Surprises can&#8217;t always be organic, inevitable consequences. They could be totally unexpected. Imagine the fated lovers courting each other at a silent zen retreat and police officers interrupt their group meditation and inexplicably arrest one of them and takes them away. What? Why? What will happen next?
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Position
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This is simply a matter of being aware where you are in the story and how much knowledge audiences already have of the situation, the characters and the conflict. Readers should intuitively sense the difference between an opening scene which typically offers more information as it introduces audiences to your story. Middle scenes typically show the peak action and the closing scenes offer readers a satisfying conclusion.
Readers intuitively understand story rhythms, so unless you&#8217;re writing a non-linear or experimental screenplay, honor these story conventions.
Screenwriters should also pay particular attention to the scenes immediately before and after each scene. There should be a logical entrance and exit to ensure a smooth story flow.
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Distance
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This concept relates to the emotional and thematic coverage from the start to the end of the scene. Think about how far the characters have traveled and evolved in a few pages. If they are the couple in our untitled romantic comedy, imagine their first fight. They might argue about some seemingly minor matter such as not responding to a text message. They bicker, sigh, raise their voices, and express their feelings of annoyance. If there is no clear resolution, then the characters are essentially at the same place they began. They&#8217;ve traversed a large terrain of negative emotions, but they really haven&#8217;t moved forward as characters.
How else might this scenario play out? What if one character stabs the other in a fit of rage? What if one proposes? That spins the story in a whole new direction. It might even be done in a single page.
Not every scene needs to cover as much emotional distance as this, but be mindful that audiences appreciate a &#8220;rollercoaster&#8221; ride  knowing that every dip won&#8217;t be as dramatic as another.
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Texture
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Scenes have a delicate balance of reasoning, feeling, and function to keep audiences engaged for the long haul. Every scene should move your story forward, but not every scene should do so at the same velocity. Some scenes are more spectacular while others are more conversational. Both are in service to readers further understanding the characters and propelling the plot. Some scenes are high intensity while others are more meditative and reflective. Utilizethis mix as best you can.
Even high-powered car chase scenes in big budget action movies or blood-curdling butchering in horror movies need softer scenes to allow audiences to process, understand, and reset.
Writers need to be mindful of the feeling in each scene. Every screenplay needs a combination of moods, feelings, and texture to highlight the story &#8211; much like a herb mix on a Sunday roast.
Part of the rhythm and flow of each scene depends on their length. Some can be long if a complex idea needs to be explained and run into a few pages. Be careful not to justify very long scenes with excessive or unnecessary exposition. Sometimes, more information can be conveyed by what is not said than what is said. Really short scenes of a few lines can also add impact if they are positioned between key scenes.
For instance, imagine our fated couple at the Zen retreat. How would the story be affected if one of the characters entered the meditation space with a weapon or a secret recording device without a word of dialogue?
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Self-Contained
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Screenwriters should think of each scene as a mini-movie that stands on its own with a discernible beginning middle, and end. It should also be perceived within the context of a larger story. Think of each scene as jig-saw puzzle piece. It&#8217;s distinct and unique and forms an essential part of the completed puzzle. If a piece is missing, it will stand out and audiences will notice.
Think of your screenplay as a game of Jenga. What happens to your Jenga tower if you remove a block? If it doesn&#8217;t collapse, you might want to rethink that particular scene.
And finally, don&#8217;t forget to make your scenes memorable and entertaining. Audiences will thank you.

Anatomy Of A Screenplay Scene

The Cannes Film Festival is one of the most prestigious and highly anticipated events in the cinematic world, is always a barometer of the industry’s trends, talent, and innovation. It&#8217;s a dynamic showcase of emerging voices, cinematic landscapes, and bold storytelling. Here are some standout films and screenwriters to keep an eye on as Cannes 2025 takes the global stage:
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1. &#8220;The Last Days of the City&#8221; &#8211; Written &amp; Directed by Lina Al Abed
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A standout entry from Palestine is Lina Al Abed’s The Last Days of the City. Known for her striking explorations of identity and memory, Al Abed’s latest work dives deep into the tumultuous political backdrop of the Middle East. The film follows a group of young activists in a city on the brink of upheaval, offering a poignant look at the intersection of personal loss and political unrest.
Al Abed’s reputation for blending historical events with deeply personal narratives will likely make The Last Days of the City a standout at Cannes 2025. Her ability to craft evocative, layered screenplays places her firmly in the “must-watch” category, and critics are already predicting her as a strong contender for the Palme d&#8217;Or.
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2. &#8220;Red Echoes&#8221; &#8211; Written &amp; Directed by Jan de Vries
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Dutch filmmaker Jan de Vries has been making waves with his distinctive approach to surrealism, and Red Echoes might be his breakthrough moment on the international stage. The film is set in a near-future world where environmental collapse has sparked a mass migration crisis. A small community in the Netherlands, struggling with the psychological fallout of climate change, becomes embroiled in a strange series of events as they attempt to rebuild their lives.
De Vries’ writing, often described as haunting and dreamlike, is a compelling fusion of speculative fiction and human drama. The film’s unique blend of political commentary and psychological horror has sparked significant buzz, making it one of the most anticipated titles at Cannes 2025.
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3. &#8220;The Circle of Time&#8221; &#8211; Written &amp; Directed by Chizuko Yoshida
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A significant addition to Cannes 2025 is the debut of Japanese screenwriter and director Chizuko Yoshida. Her film, The Circle of Time, is a narrative that intertwines two timelines, one set in post-war Japan and the other in a futuristic, technologically advanced society. The film explores generational trauma, cultural memory, and the cyclical nature of history.
Yoshida’s complex script has already drawn comparisons to the works of filmmakers like Akira Kurosawa and Andrei Tarkovsky, and her fresh approach to storytelling has critics excited to see how she handles the Cannes spotlight. With her delicate balance of visual storytelling and introspective dialogue, Yoshida’s work is poised to captivate the international audience at the festival.
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4. &#8220;Empire of Ashes&#8221; &#8211; Written by Marco D&#8217;Angelo, Directed by Maria Giulia Ferraro
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One of the most talked-about screenwriters of Cannes 2025 is Marco D&#8217;Angelo, whose script for Empire of Ashes is already generating significant buzz. Directed by Italian filmmaker Maria Giulia Ferraro, Empire of Ashes is an epic historical drama that takes place during the decline of the Roman Empire. The film&#8217;s central story focuses on a young Roman senator who is caught in the battle for power while grappling with the collapse of his world.
D&#8217;Angelo’s screenplay is a complex web of political intrigue, familial loyalty, and moral questioning, all set against the backdrop of one of the most significant periods in Western history. His ability to bring historical events to life with rich, layered dialogue has made him one of the standout screenwriters to watch at Cannes 2025. Many are speculating that Empire of Ashes could be a contender for the Best Screenplay Award, with Ferraro’s direction providing a cinematic canvas for D&#8217;Angelo’s sharp writing.
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5. &#8220;The Unseen Path&#8221; &#8211; Written &amp; Directed by Agustin Fernández
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One of the festival&#8217;s rising stars, Argentine director Agustin Fernández, returns to Cannes in 2025 with his latest film, The Unseen Path. The movie follows a blind woman in Buenos Aires who embarks on a journey to find her estranged brother. Along the way, she meets people who challenge her perception of reality, forcing her to confront both external obstacles and the limitations of her own mind.
Written by Fernández and his frequent collaborator, Sofia Martinez, the screenplay is a poignant exploration of self-discovery, relationships, and resilience. The film’s minimalist yet powerful dialogue is expected to resonate deeply with audiences and critics alike. Fernández’s previous works have received rave reviews for their emotional depth and stark realism, and The Unseen Path is expected to further cement his reputation as one of the most exciting directors working in Latin American cinema today.
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6. &#8220;Fallen Stars&#8221; &#8211; Written by Sofia Lange and Directed by Lina Rosenthal
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Sofia Lange’s script for Fallen Stars is one of the most talked-about of the festival, drawing praise for its nuanced portrayal of fame and isolation. The film, directed by Lina Rosenthal, tells the story of a former child star who, after years of obscurity, is given a second chance at stardom. But as her past begins to catch up with her, she must confront the personal demons she’s tried to bury for years.
Lange’s writing excels in creating complex, multifaceted characters, and Fallen Stars promises to be an emotionally charged character study. Critics have already noted Lange’s ability to blend dark humor with drama, and with Rosenthal’s keen eye for visual storytelling, Fallen Stars could be a breakout hit at Cannes 2025.
With such a rich and diverse lineup, Cannes 2025 is sure to be a pivotal moment for filmmakers and audiences alike.

Cannes 2025: The Must-See Films and Screenwriters Ready to Steal the Spotlight

Government Cheese isn’t just a reference to the low-cost, highly-processed, nutrient-poor imitation cheese once distributed to low-income Americans. It’s also the title of a bold, surrealist family comedy that flips expectations and genre conventions. Set in 1969, the series is the brainchild of writer Ayesha Carr (The Carmichael Show, Rel) and visionary music video director Paul Hunter, known for his work with artists like Pharrell Williams, Justin Timberlake, and Jennifer Lopez.
At the heart of the story is Hampton Chambers (David Oyelowo), a spirited ex-con with big dreams and even bigger obstacles. Hampton is determined to make his fortune with a clever invention — a self-sharpening drill he calls the Bit Magician. His goal? To live the American Dream. But in late-60s America, especially in the white-dominated suburbs of Los Angeles, being a Black ex-felon is more barrier than badge of honor. Especially in suburban Chatsworth in the San Fernando Valley.
The story of Government Cheese began as a short film — a proof of concept produced by Hunter and Oyelowo. The unique tone, blending surreal absurdist comedy, social critique, and spiritual depth, caught the attention of Carr, who helped expand the vision into a full-fledged television series. Together, Hunter and Carr set out to create a show that broke free from clichéd portrayals of Black family life, especially those steeped in pain and trauma.
<div id="attachment_49659" style="width: 211px" class="wp-caption alignleft"><img aria-describedby="caption-attachment-49659" class=" wp-image-49659" src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-200x300.jpg" alt="Ayesha Carr showrunner Government Cheese Apple TV+" width="201" height="301" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-200x300.jpg 200w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-100x150.jpg 100w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-768x1152.jpg 768w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-683x1024.jpg 683w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-1024x1536.jpg 1024w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0444_6iIkrhRt-150x225.jpg 150w" sizes="(max-width: 201px) 100vw, 201px" />Aeysha Carr. Photo by Eric Charbonneau/ Apple TV+)</div>
“We didn’t want to dwell on Black trauma,” says Hunter. “Even if things look bleak, these characters are joyful, optimistic, full of love — and very very funny.”
The pilot episode sets the deadpan quirky tone immediately. It opens with Hampton’s last day in prison, a sequence that veers from comedic to poignant with effortless ease. Case in point &#8211; the dining room riot with food flying around like asteroids in space.
Armed with little more than a few dollars and a big dream, Hampton heads home to the San Fernando Valley — and to a family that greets him with cautious ambivalence and cofusion. The series quickly shifts from prison tale to a family dramedy, with a twist of surrealism.
At its core, Government Cheese is driven by Hampton’s spiritual journey. While the Bit Magician is his ticket out of poverty and marginalization, the real work is repairing relationships with his family and redefining success. Hampton isn’t just chasing wealth — he’s chasing redemption, relevance, and belonging. He unapologetically deserves a place on the Forbes list and doesn&#8217;t permission. He thrives on sheer determination.
That journey is complicated by the family he left behind, particularly his wife, Astoria (Simone Missick). Astoria is a woman of few words but great presence — someone who can shut Hampton down with a glance. Missick describes her as “very atypical, and very personal to me. She’s based off of my mother and my aunt; women who exude this quiet and poise, and they reserve their judgment in their faces.” She&#8217;s unsure whether she wants Hampton in the family home. They can&#8217;t just pick up where they left off.
While he was gone, she began building her own identity — pursuing personal, professional, and romantic growth. There may even be a new beau in her life to rival Hampton.
Their two sons, Harrison (Jahi Di’Allo Winston) and Einstein (Evan Ellison), are as different as their names suggest. Harrison, the elder, is sharp, cynical, and deeply skeptical of his father’s ambitions. He hasn’t missed Hampton at all and makes no effort to hide his contempt. He also speaks plainly about the racial dynamics he faces in his predominantly white school — the double consciousness he carries as the &#8220;dark cloud&#8221; in the room.
<div id="attachment_49658" style="width: 260px" class="wp-caption alignleft"><img aria-describedby="caption-attachment-49658" class="wp-image-49658 " src="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-200x300.jpg" alt="Paul Hunter Government Cheese Apple TV+" width="250" height="375" srcset="https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-200x300.jpg 200w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-100x150.jpg 100w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-768x1152.jpg 768w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-683x1024.jpg 683w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-1024x1536.jpg 1024w, https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2025/06/ECR_0431_jjTlBc2Y-150x225.jpg 150w" sizes="(max-width: 250px) 100vw, 250px" />Paul Hunter. Photo by Eric Charbonneau/ Apple TV+</div>
Einstein, on the other hand, is introspective, curious, and full of quiet hope. A deep thinker. He supports his father’s reintegration in his own subtle way, fascinated by culture, philosophy, and the Chumash people — the Indigenous custodians of Los Angeles. While Harrison embodies skepticism, Einstein represents the kind of radical belief and hope Hampton desperately needs.
The family is the only Black household in the Chatsworth neighborhood. But Government Cheese resists the urge to portray them as victims of their environment. They’re not trying to fit in — they’re simply trying to thrive. The show’s creators consciously avoid tired racial tropes about assimilation or suffering. Instead, they spotlight ambition, humor, and imagination.
Defining Tone
Tonally, the show feels like a unique blend of Coen Brothers quirk, Wes Anderson visual flair, and Spike Jonze surrealism. Its offbeat rhythms, visual inventiveness, bizarre cutaways and spiritual undercurrents set it apart from many contemporary TV comedies — especially those that deal with race and class more overtly.
Adding another layer of tension and charm is Bootsy (Bokeem Woodbine), Hampton’s longtime friend and sometimes bad influence. Bootsy is a chaotic dreamer — a man who drags Hampton into questionable schemes, but also keeps the dream alive. The Bit Magician will se the light of day. He’s both the devil on Hampton’s shoulder and the voice that reminds him why he started dreaming in the first place.
Government Cheese is a show about striving — not in the conventional American Dream sense, but in the messier, more complicated terrain of self-worth, legacy, and love. It’s about building something real when the odds are stacked against you — and doing it with joy, style, faith, and a spoonful of silliness.

Anatomy Of A Screenplay Scene

Cannes 2025: The Must-See Films and Screenwriters Ready to S...

Showrunning with the Bit Magicians: Ayesha Carr & Paul Hunte...

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