In a Better World
Anton is a doctor who commutes between his home in an idyllic town in Denmark, and his work at an African refugee camp. In these two very different worlds, he and his family are faced with conflicts that lead them to difficult choices between revenge and forgiveness. Anton and his wife Marianne, who have two young sons, are separated and struggling with the possibility of divorce. Their older, ten-year-old son Elias is being bullied at school, until he is defended by Christian, a new boy who has just moved from London with his father, Claus. Christian's mother recently lost her battle with cancer, and Christian is greatly troubled by her death. Elias and Christian quickly form a strong bond, but when Christian involves Elias in a dangerous act of revenge with potentially tragic consequences, their friendship is tested and lives are put in danger. Ultimately, it is their parents who are left to help them come to terms with the complexity of human emotions, pain and empathy.
The film struggled financially against its mid-range budget of $15.0M, earning $13.0M globally (-13% loss).
1 Oscar. 14 wins & 24 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%)
In a Better World (2010) exemplifies precise narrative design, characteristic of Susanne Bier's storytelling approach. This structural analysis examines how the film's 13-point plot structure maps to proven narrative frameworks across 1 hour and 58 minutes. With an Arcplot score of 7.2, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Anton treats patients at a refugee camp in Africa while his family struggles in Denmark. Elias is bullied at school. Two parallel worlds of violence and morality are established.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 15 minutes when Christian intervenes violently when Elias is being bullied, threatening the bully with a knife. This act of violence creates a bond between the two boys and sets a dangerous precedent.. At 13% through the film, this Disruption is delayed, allowing extended setup of the story world. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 30 minutes marks the transition into Act II, occurring at 25% of the runtime. This indicates the protagonist's commitment to Lars (the mechanic) publicly humiliates and physically assaults Anton in front of his sons. Anton chooses non-violence and walks away, but this choice deeply affects both Elias and Christian, who see it as weakness., moving from reaction to action.
At 59 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Structural examination shows that this crucial beat The boys detonate their bomb under Lars's car. It explodes but doesn't kill him. This false victory immediately turns to horror as they realize the magnitude of what they've done and that violence doesn't bring peace., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 89 minutes (75% through) represents the emotional nadir. Here, Christian attempts suicide by running in front of a truck, unable to bear his grief and guilt. He survives but this is the "whiff of death"—the ultimate consequence of the cycle of revenge and violence., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Synthesis at 94 minutes initiates the final act resolution at 80% of the runtime. The families begin healing. Anton reconnects with his wife and children. Christian starts to process his grief. They choose the difficult path of forgiveness over revenge, breaking the cycle., demonstrating the transformation achieved throughout the journey.
Emotional Journey
In a Better World's emotional architecture traces a deliberate progression across 13 carefully calibrated beats.
Narrative Framework
This structural analysis employs a 15-point narrative structure framework that maps key story moments. By mapping In a Better World against these established plot points, we can identify how Susanne Bier utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish In a Better World within the drama genre.
Susanne Bier's Structural Approach
Among the 4 Susanne Bier films analyzed on Arcplot, the average structural score is 7.2, reflecting strong command of classical structure. In a Better World takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Susanne Bier filmography.
Comparative Analysis
Additional drama films include Eye for an Eye, South Pacific and Kiss of the Spider Woman. For more Susanne Bier analyses, see Love Is All You Need, Serena and The One and Only.
Plot Points by Act
Act I
SetupStatus Quo
Anton treats patients at a refugee camp in Africa while his family struggles in Denmark. Elias is bullied at school. Two parallel worlds of violence and morality are established.
Theme
Christian's mother tells him about forgiveness and letting go before she dies, introducing the central question: Is revenge justified, or must we turn the other cheek?
Worldbuilding
Elias suffers bullying while his parents' marriage crumbles. Christian arrives at school after his mother's death, angry and isolated. Anton works in Africa, struggling with impossible moral choices about violent warlords.
Disruption
Christian intervenes violently when Elias is being bullied, threatening the bully with a knife. This act of violence creates a bond between the two boys and sets a dangerous precedent.
Resistance
Christian and Elias become friends. Anton returns home and attempts to reconcile with his family. The adults try to guide the boys toward peaceful resolution, but Christian's rage and grief make him resistant to forgiveness.
Act II
ConfrontationFirst Threshold
Lars (the mechanic) publicly humiliates and physically assaults Anton in front of his sons. Anton chooses non-violence and walks away, but this choice deeply affects both Elias and Christian, who see it as weakness.
Mirror World
Christian convinces Elias that they must take revenge on Lars themselves. Their friendship becomes the mirror world that explores the theme: will they choose violence or Anton's path of restraint?
Premise
The boys secretly build a bomb to kill Lars. Meanwhile, Anton returns to Africa where he faces the warlord Big Man who cuts open pregnant women. Both storylines explore the limits of pacifism and civilized behavior.
Midpoint
The boys detonate their bomb under Lars's car. It explodes but doesn't kill him. This false victory immediately turns to horror as they realize the magnitude of what they've done and that violence doesn't bring peace.
Opposition
Guilt and fear consume the boys. Christian is hospitalized after the explosion injures him. Anton discovers what happened and must confront his own complicity—his pacifism inadvertently drove the boys to violence. Relationships fracture.
Collapse
Christian attempts suicide by running in front of a truck, unable to bear his grief and guilt. He survives but this is the "whiff of death"—the ultimate consequence of the cycle of revenge and violence.
Crisis
Anton sits with Christian in the hospital, grappling with his own moral failures both in Africa and at home. The families face the darkness of what has happened and whether healing is possible.
Act III
ResolutionSynthesis
The families begin healing. Anton reconnects with his wife and children. Christian starts to process his grief. They choose the difficult path of forgiveness over revenge, breaking the cycle.