In Medias Res: A Narrative Tool For Screenwriting & Film Editing
Think of your opening scene like a handshake. You’re greeting the audience with a tone, a hint of conflict, and a slice of world-building.
“It was dark in the wolf’s stomach.”
Immediately, you’re in the thick of something bizarre—Little Red Riding Hood has already been gobbled up, and you’re left wondering how or why or what happens next. This line functions like an In Medias Res moment and a Narrative Teaser combined, because the reader is dropped into a setting that’s equal parts ominous and puzzling.
I’ve always been fascinated by the power of a strong opening—especially when it comes to filmmaking and screenwriting. There’s something almost magical about dropping your audience into a moment where everything is on the brink of falling apart (or coming together), without having to spell out every single reason right away. This technique is often referred to as In Medias Res, which is just a fancy Latin way of saying “in the middle of things.”
I admit I rarely use this technique—perhaps because I treasure it so much that I only want to apply it in those rare moments when it truly fits. One instance where I found it most effective was in my film City State (2012), where I split the narrative into four separate threads that ultimately came together in a single, unifying story that met in the middle of the film.
But I love structure and studying ways to tease the demanding constricted film language. There are several variations on this idea, each carrying its own flair:
1. In Medias Res – Jumping straight into a key moment, letting the tension or excitement pull the viewer (or reader) in, and only later explaining how we arrived here.
2. Cold Open – Popular in TV and film, it’s that striking, pre-credits sequence designed to hook you instantly.
3. Foreshadowing Hook – A quick glimpse of something crucial coming up later, giving your audience that “wait, what just happened?” reaction.
4. Flashforward (Prolepsis) – Instead of going back in time, you project forward to a future scene in your story, then snap back to the present.
5. Epigraphic Teaser – Think of it like a cryptic or poetic line at the very start, a hint at the coming theme.
6. Narrative Teaser – A broader term for any line meant to tease or intrigue right off the bat.
In my experience (and in my personal approach to storytelling), these bold openings can be just as impactful in the editing room as they are on the page. When you’re piecing a film together, you’re basically juggling time, visuals, and emotion all at once. Using an In Medias Res or Cold Open can mean rearranging scenes so that the audience first encounters a critical moment of action or tension. The viewer sees the characters at their most vulnerable (or in the midst of chaos) long before the narrative explains how we got there. It’s an invitation to keep watching: “I need to know how these people ended up in this predicament!”
When writing a screenplay, think of your opening scene like a handshake. You’re greeting the audience with a tone, a hint of conflict, and a slice of world-building. By using an In Medias Res or a Flashforward, you’re letting your audience know: This story starts with a bang. It’s like offering a secret handshake that says, “You’re in on something big.”
From a more personal perspective, I love how these techniques allow us to play with our audience’s expectations. You set up a puzzle, show the aftermath, or a key future moment, and then softly whisper, “Just wait—this is only the beginning.” In my own journey of learning to re-communicate with my instincts and trust the organic flow of storytelling, I’ve found it rewarding to let the story’s heartbeat dictate when and where to insert these hooks.
Some thoughts on this thing:
• Identify the Most Tense or Surprising Moment: Is there a scene halfway through your script where everything changes? Consider opening with it, then receding into the backstory.
• Balance Confusion with Curiosity: The goal isn’t to lose your audience but to make them lean forward in their seat. Drop enough clues so they know they need to keep watching (or reading).
• Don’t Spoil Everything: A foreshadowing hook should be intriguing, not a full reveal. If you show the outcome of the entire plot, you risk deflating the tension.
• Use Sound or Imagery: In film, the first seconds are visually and sonically crucial. Isolate a powerful sound effect or a striking image to accompany your opening moment.
• Pace Yourself: Once you jump in with this dramatic opening, you’ll need to guide the audience carefully back through the narrative without losing momentum.
5 Examples of In Medias Res
Below are five memorable film and TV examples that showcase a dynamic use of “in medias res,” “cold open,” or related techniques—throwing audiences straight into the thick of things before backtracking or explaining how events unfolded:
1. Breaking Bad (Pilot Episode)
• The Scene: Walter White careens down a desert road in an RV, wearing only his tighty-whities and a gas mask, with unconscious bodies in the back.
• Why It Works: We’re instantly thrust into high-stakes chaos, and the abrupt visuals raise countless questions. It’s a jarring, irresistible hook that leaves viewers desperate to learn how a high school chemistry teacher ended up here.
2. Lost (Pilot Episode)
• The Scene: Jack Shephard wakes up disoriented in the middle of a bamboo forest, stumbles onto a beach, and finds complete mayhem: the wreckage of Oceanic Flight 815.
• Why It Works: The show begins quite literally in the aftermath of a catastrophic event, pushing viewers right into the heart of the mystery while grounding us in the intensity of survival.
3. The Usual Suspects
• The Scene: We open on a nighttime pier, where a mass murder has just taken place aboard a ship—and a mysterious figure called Keyser Söze is involved.
• Why It Works: The dark, cryptic opening plants us in the final act of a crime gone wrong. The rest of the film rewinds and reassembles the puzzle, heightening suspense about Keyser Söze’s true identity.
4. Pulp Fiction
• The Scene: A couple discusses robbing a diner in what seems like a casual breakfast chat, then suddenly leap onto tables with guns drawn. We freeze-frame as the tension peaks.
• Why It Works: Quentin Tarantino uses a cold open that catapults viewers into a high-tension robbery. We’re hooked by the witty banter, the jarring turn, and the instant need to see how (or if) these storylines connect.
5. The Hangover
• The Scene: The film opens on a distraught phone call from Phil to the bride-to-be: “We messed up. … We can’t find Doug.” They’re stranded in the middle of the desert, tuxedos in tatters.
• Why It Works: By jumping ahead to the disastrous aftermath of a wild night, the audience instantly wonders what went down in Vegas. The rest of the film is spent retracing the steps—hooking us with the promise of wild revelations.
In each example, the audience lands right in the heart of tension or confusion, compelled to stick around for the “how” and “why.” This hook, whether a cold open or a flashforward, ignites curiosity and adds momentum to the storytelling right from the start.
In the realm of film editing, this might look like cutting to the chase—literally. In screenwriting, it could be a first line that rattles the audience out of their comfort zone. Whatever route you take, remember that 'in medias res' is not a gimmick. It’s an art form that, when done right, triggers curiosity, raises questions, and breathes vibrant life into your narrative right from the start.
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