The Red Balloon and Visual Storytelling
Exploring Visual Subtext in Film
Written By Robert Dee
The Red Balloon (Lamorisse, 1956)
In this post, I’m delving into the realm of visual subtext within short films, exploring how strong themes can be conveyed visually rather than relying on dialogue. This topic is essential for filmmakers aiming to tell compelling stories through images alone.
As part of my research, I’ve been analyzing numerous short films—both recent and classic—to understand how other filmmakers use visual elements to convey strong themes. While it's crucial to keep up with current industry trends, it’s equally important to study enduring films to understand why they resonate over time. For instance, while reading "Writing the Short Film" (Cooper, Patricia & Dancyger, Ken, 2005, Oxon, Focal Press), I revisited three films mentioned in the chapter on visual storytelling. One standout example is The Red Balloon.
The Red Balloon (Lamorisse, 1956)
The Red Balloon (Albert Lamorisse, 1956, France) is a thirty-minute short film that has won numerous awards, including the prestigious Oscar for Best Original Screenplay, making it the only short film to win an Oscar outside of the Live Action Short Film Category. The film narrates the story of an unnamed young boy who forms a bond with a large red balloon in a world dominated by drab blues and greys. This poetic narrative is beautifully simple yet deeply moving, firmly placing the viewer in a child's world.
It reminds me of the more recent film The Florida Project (Sean Baker, 2017, USA), which employs similar techniques, such as maintaining the camera at the child's eye level, thereby reinforcing our identification with the child and pushing adult story elements into the background. This method helps us stay immersed in the immediacy of a child’s perspective. The balloon in The Red Balloon is given a personality through its playful and mischievous movements, an impressive feat considering the technical constraints of the time. Interestingly, the film doesn’t explain why the balloon is alive or the boy's lack of surprise at its animism. It just is, capturing the whimsical logic of a child’s world. This approach demonstrates that not everything in a film needs an explanation.
The Florida Project (Sean Baker, 2017, USA)
Visual Subtext in Modern Films
In fact, over-explaining can often detract from a film's impact. For example, A Quiet Place (John Krasinski, 2018, USA) is refreshing in its restraint. The film doesn't pause to explain why Earth is invaded by creatures or show a flashback to pre-invasion normalcy. Instead, it immerses us in the characters' present situation, allowing us to engage with their predicament. This visual storytelling, supported by sparse dialogue, serves the plot more than the theme, helping us understand what’s happening without delving into deeper interpretations of why it’s happening.
Taking a look at this still from very early in the film, there is a lot of illustration in terms of subtext. The bare foot signals not just the need to be silent but also the vulnerability of the character. There’s a visceral recognition of the lack of protection when walking barefoot that the viewer picks up subconsciously. Illustration in visual subtext terms relates to using images for maximum effect. Images can tell us instantly - and more emotionally effectively - what would otherwise take cumbersome lines of dialogue to explain.
A Quiet Place (John Krasinski, 2018, USA)
Visual storytelling can indeed use metaphor, but not all visual storytelling is metaphorical. There’s a risk of falling into cliché by lazily selecting visual cues for thematic purposes. For instance, red often symbolizes danger in Western culture, but it means something entirely different in China. Misuse of such symbols can feel heavy-handed, detracting from the story.
The Sixth Sense (M. Night Shyamalan, 199, USA)
Where visual storytelling excels is when symbolic rules are established within the story. In The Sixth Sense (M. Night Shyamalan, 199, USA), the color red is used intelligently. Whilst Shylamalan is still using red to signify danger, it also signifies a connection to the spirit world. The whole film is, in a sense, the journey of a small boy in recognising that what is scary can turn out to be a gift. The audience picks up on this, consciously or unconsciously, enriching their viewing experience.
Thematic Depth in The Red Balloon
Returning to The Red Balloon, its poetic nature leaves it open to interpretation, yet it clearly explores themes like the importance of finding and preserving beauty in a monochrome world and how mob mentality can persecute those who dare to dream. Lamorisse's subtle direction avoids turning the story into a moralistic tale or simple allegory, enhancing its impact. The film’s ambiguity is what makes it so compelling, offering viewers space to dream and interpret. It is visual poetry - something that directors working with visual subtext should always remember.
Here’s an example of enduring visual storytelling in Room 237 (Rodney Ascher, 2012, USA), a film exploring various interpretations of The Shining (Stanley Kubrick, 1980, USA). While some arguments stretch credibility, it highlights how films with ambiguous plots invite deeper readings.
Balancing Ambiguity and Clarity
Balancing ambiguity and clarity is challenging, particularly in genres like psychological horror and the uncanny, where ambiguity is integral. Striving for thematic coherence can help ground the work, making it more engaging and coherent for audiences. Visual subtext and thematic depth are what make great films resonate with viewers, staying with them long after the credits roll. Symbolism offers a rich tapestry to explore, provided filmmakers set clear rules.
To find out more about visual subtext and directing check out our workshops and courses. Let me finish by sharing an EXCELLENT short film with you that is rich in visual storytelling, Fauve (Jeremy Comte, 2018, Canada)
