Intention Above the “Cult”
Why Are Family Films Essential to Society?
What Is a “Family” Film?
What is a “family” film? A family film is characterized by the foundation of a purpose, one based on morals, ethics, teachings, and, above all, a narrative that is easily accessible—something popular. Thus, a film with basic purposes gives rise to a cinematic genre that starts from the idea that the audience is open to receiving the “new,” the “strange,” the truly “different.”
However, the narrative does not assume this from a perspective that would make the film aggressive—which is definitely not wrong, but rather a stylistic and narrative choice. Instead, it makes the film light, emotional, and, most importantly, functional.
When we talk about these films, we are talking about discourses that start from the assumption that, through a comfortable narrative, the film faces its main battle: the three-act structure. Films like these trigger the three acts through three main points: the character and their past, the conflict that exposes why the protagonist is different, and the acceptance of the protagonist and the environment in which they are inserted.
Therefore, following the ideal of these three acts, the most acceptable way to make such a film possible is by adapting real stories, with exceptions—most of these found in animation. Real stories are not always about reality or veracity; perhaps they are much more a formal idea of the versatility of what is or is not worthy of being fictional.
With this in mind, we have the example of the book The Perks of Being a Wallflower. But why the book? The book is the source material for the film, and it addresses everyday life—something vivid, something that naturally invokes a challenge when adapted to cinema. The book itself does not follow the idea of three acts, but rather a gradual evolution filled with highs and lows. And the film becomes a success when we consider the concept of “adaptation.”
The film approaches Charlie’s depression as something slightly sidelined, something that completely displaces him from school reality, yet without diminishing him through cinematic aesthetics. This becomes evident when we are introduced to Patrick and Sam. Patrick and Sam function as a narrative balancing tool, focused on humanizing Charlie above the narrative itself, which constantly tries to emphasize that he is outside his comfort zone.
An example of this is the football game scene, in which Charlie, uncomfortable, does not quite know how to react to that situation, but the film does not allow him to fall into the stagnation of melancholy that haunts the character’s past.
Why Are These Films Important to Society?
So, why are these films important to society? The real reason this question exists is simple: the modern need to view empathy as something earned, something meritocratic. It is as if, for a small spark of empathy to be born, something must first be done.
As an example, in The Karate Kid (USA), Jaden Smith’s character receives two forms of treatment: that of the girl, which naturally generates empathy and is the result of the representation of kindness, and that of the antagonist, who requires an action in order to then highlight—to himself and to others—that empathy is and must be practiced.
The issue, then, is not the necessity of family films existing, but rather understanding that by presenting basic ideals of coexistence to children and adults, we achieve a recapitulation and the emergence of new convictions. Often, adult life tends to villainize people not out of malice, but because of the social constant that the system is a machine.
And I say this not through a shallow way of thinking about an ideal world, but through individuality, where the boss becomes the villain, the coworker a rival, and the child nothing more and nothing less than a replica of oneself.
Thus, family films are popular not because of their genres, but because of their accessible language. They function like small fragments of a puzzle, in which emotions — coming and going — serve as the tools through which a film can truly declare itself as something familiar. What distinguishes them from ordinary films is, as mentioned, accessibility: ranging from children’s and coming-of-age narratives to works with more adult language, while always maintaining the coherence of films that can be watched at any time of the day and that emphasize a message of compassion toward others.
Final Considerations
Thus, family films are a true reminder that the world is the result of conceptual humanity—of humanity through itself—of seeing the other with love, regardless of beliefs. It is about regulating a system that constantly assaults the will of others, that allows some and denies others.
Therefore, films like The Perks of Being a Wallflower are a true milestone for encouraging people to rethink the world as a whole. Like the innocence of a child, equality resides in individuality, just as naive love does.
#comingofage #teenmovies #script #cinema #cinephiles #theperksofbeingawallflower
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