Despite lacking dialogue, Flow has a lot to say—and a lot to teach screenwriters like you.

The critically acclaimed, twice Oscar-nominated animated film by Latvian filmmaker Gints Zilbalodis is one of 2024’s most talked-about movies. This dreamlike, post-apocalyptic feature was crafted by Zilbalodis and Matīss Kaža using a 35-page cinematic script made up entirely of directorial instructions.

While the length of the script is unconventional, many aspects of Flow defy the traditional rules of screenwriting. The film lacks standard story beats, such as a villain or clear antagonist, and it foregoes dialogue entirely. It even embraces a deus ex machina—a storytelling device often discouraged in modern screenwriting. Yet, these choices make Flow a fascinating case study for screenwriters looking to refine their craft.

In screenwriting, actions can speak louder than words

Yes—it sounds like something your parents would say to you, but it’s true! While dialogue can be important to a story, action is what keeps it moving. Without action, there is no clear direction for where the story should go.

Giving information about what is happening in the story without too much detail is a balancing act. But Flow reminds us of a fundamental principle of screenwriting: “Show, don’t tell.”

Being able to convey information and emotion through a character’s actions, expressions, and visuals gives the reader a clearer view of the world and the protagonist’s place in it. In a screenplay, action is the visual language of the film, so everything written impacts the plot and the characters in a way that serves the overall story.

In Flow, we meet Cat and observe his general reaction to the world around him. He is grumpy, curious, and cautious—character traits that we pick up on simply by watching his daily life within the first page of the script. Remember, film is a visual language; not everything needs to be said aloud when it can be shown instead.

When writing action, the best practice is to visualize the moment as if it were already a movie. Then, the trick is to translate that vision into a single, clear sentence.

Keep action lines in your script short and concise 

One of the biggest challenges writers face when writing action is the temptation to over-describe every detail. While there is a time and place for vivid description, excessive detail can slow the pacing and disengage the reader.
Here are a few key principles for writing effective action lines:

• Break up long paragraphs: Action lines should be between one to four lines to maintain a strong rhythm and pacing.
• Use strong verbs: Your words are limited, so use active and vivid verbs to enhance the tone of each moment.
• Be specific: Paint a clear picture by using concrete nouns and adjectives rather than vague descriptions.
• Focus on the visuals: Only describe what the audience can see on screen.

By following these principles, screenwriters can create short, sharp, and engaging action lines that keep the reader hooked, maintain strong pacing, and translate the visual language of film onto the page.

Focus on the characters and the worldbuilding in your story

Flow exists in a world devoid of humans. While remnants of their presence remain, Kaža and Zilbalodis’s story is less concerned with what happened to humanity and more focused on Cat and the other animals navigating this world. Rather than providing direct explanations, these remnants offer glimpses into a past civilization and subtly shape Cat’s experiences.

Screenplays often capture only a small portion of a character’s life. Since the world has always existed for them, it doesn’t need to be explained outright. Instead, the way characters interact with their environment naturally reveals both their personalities and the world’s state.

In Flow, when Cat returns home after the wave, we see statues and a cabin. While we don’t know who the cabin belonged to, we understand its significance through Cat’s behavior—his familiarity with the space signals that it is a place of safety. When the water begins to rise, Cat panics. He doesn’t need to verbalize his fear; his actions alone convey that the flood threatens the security of his home. With no refuge left, he has no choice but to accept the call to action.

The classic Hero’s Journey framework provides characters with clear motivation, guiding their narrative arc. However, a hero’s interactions with the world around them can play an equally important role in storytelling. These interactions offer deeper context, revealing both the character’s traits and the state of the world they inhabit. 

By observing how a protagonist navigates their surroundings, audiences gain insight into the story’s themes, setting, and underlying conflicts—without the need for direct exposition.

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Flow challenges conventional storytelling by proving that dialogue isn’t always necessary to tell a compelling story. While you might not be writing a silent film screenplay, it’s good practice to let your action lines do the heavy lifting, ensuring that every word a character speaks carries weight. 

By focusing on visual storytelling, concise action lines, and immersive worldbuilding, you can create a compelling world that keeps the reader engaged with your script. The best way to tell a story is simple: show, don’t tell.