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From the opening voiceover of protagonist Beatrice/Tris (Shailene Woodley), Divergent emphasises the parallels between personal and societal identity, and maintains this central conceit throughout its running time. Tris’ early complaint that everyone fits in apart from her may sound like specifically teenage anxiety, but to its credit, Neil Burger’s adaptation of Veronia Roth’s novel does not labour this point but keeps it as an undercurrent throughout. Furthermore, the film succeeds in making these concerns universal as, at all ages, we must not only make our own choices but live with their consequences. Tris’ journey not only expresses this concept but also provides an engaging presentation of Divergent’s world, a dystopia that, like so many others, uses its science fiction setting to explore contemporary tensions. Comparisons with The Hunger Games are inevitable, but Suzanne Collins’ series as well as their film adaptations emphasise extreme class oppression with some personal drama. While Divergent suffers from an overstuffed third act and a clunky treatment of sexual awakening, the personal drama is effectively foregrounded while the wider events are both powerful metaphors for personal fears and compelling narrative developments. Pleasantly, the film resolves its own story while still leaving potential for development in subsequent instalments, making this a worthy addition to the science fiction young adult sub-genre.



  1. […] posed high expectations because I enjoyed Divergent very much, finding the dystopia as metaphor for teenage isolation compelling and effective. […]

  2. […] Insurgent, Allegiant is a welcome return to the political uprising/growing pains drama of Divergent. Across the first two films, there was a constant sense of there being more out there, literally as […]

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