I'm Thinking of Ending Things
Despite second thoughts about their relationship, a young woman (Jessie Buckley) takes a road trip with her new boyfriend (Jesse Plemons) to his family farm. Trapped at the farm during a snowstorm with Jake's mother (Toni Collette) and father (David Thewlis), the young woman begins to question the nature of everything she knew or understood about her boyfriend, herself, and the world. An exploration of regret, longing and the fragility of the human spirit, I'M THINKING OF ENDING THINGS is directed and written by Academy Award® winner Charlie Kaufman (Eternal Sunshine of the Spotless Mind). Inspired by Iain Reid's bestselling namesake novel.
13 wins & 102 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
I'm Thinking of Ending Things (2020) reveals meticulously timed dramatic framework, characteristic of Charlie Kaufman's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 2 hours and 14 minutes. With an Arcplot score of 4.4, the film takes an unconventional approach to traditional narrative frameworks.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes A young woman, known as the Listener, drives through a desolate landscape to visit her boyfriend Jake’s family, highlighting isolation and uncertainty.. The analysis reveals that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 20 minutes when They arrive at Jake’s parents’ house, which feels unnervingly vast and unfamiliar. Reality begins to distort, introducing mysterious and eerie details.. At 15% through the film, this Disruption is delayed, allowing extended setup of the story world. This beat shifts the emotional state to 1, launching the protagonist into the central conflict.
The First Threshold at 36 minutes marks the transition into Act II, occurring at 27% of the runtime. This indicates the protagonist's commitment to The psychological tension escalates. Time and space collapse; memories and imagined scenarios merge with reality. Listener begins to confront existential fears., moving from reaction to action. The emotional journey here reflects 3.
At 73 minutes, the Midpoint arrives at 55% of the runtime—slightly delayed, extending Act IIa tension. Structural examination shows that this crucial beat The reality completely fractures. Characters shift identities, spaces distort, and existential dread peaks. The illusion of normalcy is shattered., fundamentally raising what's at risk. The emotional state shifts to 1, dividing the narrative into clear before-and-after phases.
The Collapse moment at 96 minutes (72% through) represents the emotional nadir. Here, The Listener confronts death, isolation, and the collapse of her perceived reality. Emotional despair reaches its peak., shows the protagonist at their lowest point with -7. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 104 minutes initiates the final act resolution at 78% of the runtime. A moment of existential clarity allows acceptance: life’s uncertainty and impermanence are embraced, even if understanding remains elusive., demonstrating the transformation achieved throughout the journey. The emotional culmination reaches -1.
Emotional Journey
I'm Thinking of Ending Things's emotional architecture traces a deliberate progression from -3 to 3. The narrative's emotional pivot at the midpoint—1—divides the journey into distinct phases, with the first half building toward this moment of transformation and the second half exploring its consequences. With 5 core emotional states, the narrative maintains focused emotional clarity, allowing sustained thematic development.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping I'm Thinking of Ending Things against these established plot points, we can identify how Charlie Kaufman utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish I'm Thinking of Ending Things within the drama genre.
Charlie Kaufman's Structural Approach
Among the 2 Charlie Kaufman films analyzed on Arcplot, the average structural score is 4.7, showcasing experimental approaches to narrative form. I'm Thinking of Ending Things takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Charlie Kaufman filmography.
Comparative Analysis
Additional drama films include Eye for an Eye, South Pacific and Kiss of the Spider Woman. For more Charlie Kaufman analyses, see Synecdoche, New York.
Plot Points by Act
Act I
SetupStatus Quo
A young woman, known as the Listener, drives through a desolate landscape to visit her boyfriend Jake’s family, highlighting isolation and uncertainty.
Theme
Themes of perception, reality, identity, and existential dread are introduced. The boundaries between thought and reality begin to blur.
Worldbuilding
The couple drives to the remote farm. Conversations reveal tension, doubts, and internal monologues. The setting is surreal, reflecting psychological unease.
Disruption
They arrive at Jake’s parents’ house, which feels unnervingly vast and unfamiliar. Reality begins to distort, introducing mysterious and eerie details.
Resistance
The Listener questions her relationship, her identity, and the surreal environment. Conversations with Jake and his family become increasingly disjointed.
Act II
ConfrontationFirst Threshold
The psychological tension escalates. Time and space collapse; memories and imagined scenarios merge with reality. Listener begins to confront existential fears.
Mirror World
The story explores identity and mortality. The Listener’s inner monologue reveals longing, regret, and fear of impermanence, adding emotional depth.
Premise
Surreal and unsettling sequences unfold: dancing in the high school gym, strange family interactions, and disorienting conversations, blending the ordinary with the uncanny.
Midpoint
The reality completely fractures. Characters shift identities, spaces distort, and existential dread peaks. The illusion of normalcy is shattered.
Opposition
Time loops, internal fears, and the impossibility of understanding reality close in on the Listener. Anxiety and alienation intensify.
Collapse
The Listener confronts death, isolation, and the collapse of her perceived reality. Emotional despair reaches its peak.
Crisis
Reflection on identity, relationships, and the ephemeral nature of life. The Listener struggles to accept the impermanence of experience.
Act III
ResolutionSecond Threshold
A moment of existential clarity allows acceptance: life’s uncertainty and impermanence are embraced, even if understanding remains elusive.
Synthesis
The Listener comes to terms with mortality, imperfection, and fleeting human connection, finding quiet resolution in self-awareness.
Transformation
The Listener stands alone, contemplative, fully aware of life’s fragility and the complex, often surreal nature of human experience.