Living
In 1950s London, a humorless bureaucrat decides to take time off work to experience life after receiving a grim diagnosis.
The film struggled financially against its tight budget of $10.0M, earning $7.0M globally (-30% loss). While initial box office returns were modest, the film has gained appreciation for its compelling narrative within the drama genre.
Nominated for 2 Oscars. 10 wins & 49 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%)
Living (2022) exhibits meticulously timed narrative architecture, characteristic of Oliver Hermanus's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 42 minutes. With an Arcplot score of 6.9, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Mr. Williams rides the train in silence, bowler-hatted and emotionally dead, a cog in the bureaucratic machine of 1953 London County Council.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when Williams receives his cancer diagnosis from the doctor: he has only months to live. The news is delivered clinically, shattering his carefully constructed existence.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 26 minutes marks the transition into Act II, occurring at 25% of the runtime. This reveals the protagonist's commitment to Williams actively chooses to seek out Miss Margaret Harris, the young former employee who resigned, drawn to her vitality and joy for life. He decides to learn from her how to live., moving from reaction to action.
At 51 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Of particular interest, this crucial beat Margaret finally confronts Williams about why he seeks her out. He confesses he's dying and wants to know her secret for living. She tells him: do something meaningful, like approve the playground petition., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 77 minutes (75% through) represents the emotional nadir. Here, Williams sits alone on the playground swing set he fought to create, in the snow, at night. He sings "The Rowan Tree" softly to himself - a moment of profound solitude before death., illustrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 81 minutes initiates the final act resolution at 79% of the runtime. The film shifts perspective: Williams has died. The wake becomes the threshold where others must reckon with what his transformation means for their own lives., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Living's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping Living against these established plot points, we can identify how Oliver Hermanus utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Living within the drama genre.
Comparative Analysis
Additional drama films include Eye for an Eye, South Pacific and Kiss of the Spider Woman.
Plot Points by Act
Act I
SetupStatus Quo
Mr. Williams rides the train in silence, bowler-hatted and emotionally dead, a cog in the bureaucratic machine of 1953 London County Council.
Theme
A colleague remarks that Williams has "built himself a castle of paperwork" - the theme of hiding from life behind routine and duty is stated.
Worldbuilding
The rigid, life-draining world of the Public Works department: endless paperwork, meaningless shuffling of responsibility, petitioners ignored. Williams trains new employee Peter Wakeling in the art of doing nothing.
Disruption
Williams receives his cancer diagnosis from the doctor: he has only months to live. The news is delivered clinically, shattering his carefully constructed existence.
Resistance
Williams attempts to tell his son but cannot. He withdraws money and flees to the seaside, trying to find meaning or pleasure but remaining trapped in his emotional prison.
Act II
ConfrontationFirst Threshold
Williams actively chooses to seek out Miss Margaret Harris, the young former employee who resigned, drawn to her vitality and joy for life. He decides to learn from her how to live.
Mirror World
Margaret embodies everything Williams is not: spontaneous, alive, hopeful. Their lunch together shows him a mirror of what living actually means - presence, connection, joy in small things.
Premise
Williams spends time with Margaret, absorbing her approach to life. He takes her to tea, to restaurants, desperately trying to understand her secret while she grows uncomfortable with his intensity.
Midpoint
Margaret finally confronts Williams about why he seeks her out. He confesses he's dying and wants to know her secret for living. She tells him: do something meaningful, like approve the playground petition.
Opposition
Williams returns to work with quiet determination to push through the playground project, facing bureaucratic resistance, skeptical colleagues, and his own declining health. The system fights back.
Collapse
Williams sits alone on the playground swing set he fought to create, in the snow, at night. He sings "The Rowan Tree" softly to himself - a moment of profound solitude before death.
Crisis
Williams swings gently in the darkness, accepting his death. The emotional release of having finally done something real, something that will outlive him.
Act III
ResolutionSecond Threshold
The film shifts perspective: Williams has died. The wake becomes the threshold where others must reckon with what his transformation means for their own lives.
Synthesis
At the funeral and after, colleagues piece together Williams' final months. Peter Wakeling vows to carry on Williams' spirit and fight the bureaucracy, but gradually succumbs to the same patterns.
Transformation
Children play joyfully in the completed playground. Williams' transformation is complete - he cannot be transformed further, but his legacy lives on in this small, beautiful, real thing he created.