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The mechanics of revelation. We know that Lt. Hicox (Michael Fassbender), a British film critic turned spy, is faking his German accent. We know the Gestapo officer (August Diehl) is suspicious. The drama comes from the microscopic details: the wrong hand gesture for "three," the wrong dialect for a toast.
These shows and movies often have and are intended for mature audiences . If you're looking for more specific information or resources on this topic, I can try to help you find them. The mechanics of revelation
The absence of dialogue. In a silent film, the face is the entire script. Dreyer films Falconetti from low angles, her eyes rimmed with tears, looking toward heaven. There is a moment when she is shown the stake; her lip trembles, then stills. She does not scream. She does not rage. She weeps a single tear of incomprehensible grace. We know the Gestapo officer (August Diehl) is suspicious
Conflict is the primary engine of drama. It can be overt (an argument) or subtle (hidden tensions) [7, 24]. If you're looking for more specific information or
: Every great scene is driven by what characters want and what they stand to lose if they fail. High stakes—be they physical, emotional, or moral—create the necessary urgency.