Narrative/3-Act Structure
The narrative in The Matrix clearly exhibits the classic three-act structure. First we see the green, vertically linear numbers that end in the title. After this, the viewer sees a blinking green dot on an otherwise black, blank computer screen. Typing ensues. The camera moves closer and closer to the screen, and before we know it, we literally move through the computer screen, into and beyond the numbers. This is the most literal foreshadowing/representation of what the film will consist of, and is shot at the beginning of Act One as the ‘opening image.’ It tells us the vital information we need to know the start the story.
The situation is then focused and we begin to understand the protagonist, Neo, as well as his situation in life – he lives alone and isn’t involved in social interaction much because he feels he is waiting, or searching, for something. The audience is oriented. Neo lives in the Matrix, and when he has the choice of whether or not to choose the red pill or the blue pill, a major twist occurs. The central question is raised: Is Neo the ‘chosen one’? (The answer is most often yes, and it is indeed in this case) The stakes are raised and drive us into the Second Act.
The first act fixates the viewer on the fact that the entire film is based on artificial intelligence. I believe this to be a never-ending story – therefore being something that could hint towards sequels. The more A.I. we have in our world, the more worlds could be out there. There could exist layers of the Matrix – who knows.
In addition to this, we are uncertain of whether or not the ‘chosen one’ has the capacity to die; does Neo live forever if he is the ‘chosen one,’ or will there be generations of ‘chosen individuals?’ With this being said, if Neo has an endpoint to life then there will exist other ‘chosen ones,’ which could definitely be the beginning to many sequels. Each sequel could be the start of a new ‘chosen one.’ The possibilities are endless, making way for endless sequels.
The Second Act consists of minute conflicts within the main conflict: running from the Agents (Agent Smith and his posse), figuring out if Neo is truly ‘the one,’ fending off Cypher and his attempt to kill everyone, deciding whether or not to save Morpheus at his moment of potential death, etc. The pace speeds up, characters develop relationships with each other (Morpheus and Oracle as ‘God-like’ figures to everyone, Trinity and Neo are potentially romantically-interested in each other, Cypher has a thing for Trinity but the feeling is not mutual, the Agents are institutionally-powerful and are seen as the ‘bad guys’, etc.) as well as the story develops. Our second turning point is when, I believe, Neo meets the Oracle and finds out that he evidently is not ‘the one.’
The Second Act hints at the fact that there are many people living within the Matrix to save, or, in other words, bring out of the Matrix. Although this is mentioned briefly, a sequel could still exist with the plot to save as many civilian people from the Matrix as possible. Now that the Agents are destroyed, there should be nothing stopping them from saving innocent civilians from the Matrix..or is there? “Most of the are not ready to be unplugged,” means that some of them are.
The Third Act is where all the good stuff happens – Neo finds himself, essentially, in that he actually is ‘the one’! The central question is answered, bullets fly in slow motion, Trinity kisses a dead Neo and resurrects him back to life like the Christ he is (“the Oracle told me, Neo, that I would fall in love with ‘the one’ and I. Love. You.), and Agent Smith blows up via Neo actually going inside him! Neo is rebirthed as ‘the one,’ the phone call is answered, and tension is eased.
Cinematic story
The film is mostly shot in the hero’s point of view, as the plot revolves around Neo and the story is told in his perspective. The audience only sees & knows what Neo sees & knows. The audience suffers as/when Neo suffers. The POV shots leave room for questioning what else could exist that Neo is not confronted with. The viewer wonders what else is out there beyond the ship..
Hitchcock’s Rule is used a number of times, such as when Morpheus holds up the battery in the Second Act. He holds up the battery in front of his face and explains that humans are made for power, just like the battery; in this shot, the battery is in focus and is quite large compared to Morpheus’ face. This symbolizes the battery’s metaphorical power. Not much is mentioned about this beyond the battery metaphor; this leaves room for a sequel to branch out and explain this more in depth. Again – there is more beyond the ship that is not answered in The Matrix that sequels could expose.
We are left thinking..’So what next?’ ‘What is Neo to do now?’ ‘Will Neo save the individuals living in the Matrix?’ ‘What happens with Trinity and Neo’s relationship?’ ‘What happens to the Matrix now that the Agents are destroyed?’ The Matrix leaves these vital questions unanswered as potential for sequels to expand on.
Media Design and Criticism 
