Director: Stephen Daldry – 112 Min – (2000)

Some would categorize this film as social realism. This would mean, for example, that its objective is to denounce the injustices suffered by people subjected to the abuses of an oppressive system. To do so, the film seeks to be a faithful reflection of the reality it analyzes. But although the narrative of BILLY ELIOT takes place on a specific date, its purpose is not historical reconstruction. The 1984 miners' strike in England serves as a backdrop to reinforce the intensity of the drama and provide reasons for the main character to find his way throughout the film.

The context of the strike is ideal for all sorts of conflicts to surface; however, the story chosen by the producers is that of a boy who dreams of becoming a classical dancer, when everything around him suggests that it would be preferable to direct his energies toward other, more masculine pursuits. The success lies in placing the young artist in a context that opposes his dreams, without resorting to the intervention of a villainous antagonist, as is typical of more traditional cinema. The conflict in BILLY ELIOT stems from each character's defense of their vital needs, not from simplistic dramatic constructions that merely seek some kind of artificial effect on the viewer.

Context and conflict are two allies in this film that, when combined, generate emotional and supportive responses in the audience, who, in addition to identifying with the protagonist, are able to put themselves in the place of the other characters and understand the reasons for their actions.