Since the dawn of cinema as a popular form of art, storytelling has been ever-present. As in any other art form bound by time, it is inevitable to tell stories; something as simple as a train entering a station already tells a story. This inherent presence of storytelling in cinema has led to several conventions, most of them borrowed from theatre and literature, and they have been exploited commercially and artistically with a certain degree of success, but they ultimately fail to take cinema to its full potential.
One of these conventions lies in structure; a conventional director conforms themselves with telling a coherent story with a beginning in which the characters are presented and the drama insinuated, a development in which the drama unfolds, wreaking havoc in the life of the protagonist, and an ending in which the drama is solved and a new order is reached.
In these types of films, plot plays an important part, being defined as the plan, scheme, or main story of a literary or dramatic work, as a play, novel, or short story (according to dictionary.com). This means they rely on a framework in which only the story is important and its advancement a priority, something useful in books but not so much in cinema when you consider you are dealing with images, not with words.
Although this way of storytelling is taken for granted, several auteurs like Jean-Luc Godard, Andrei Tarkovsky, and Kim Ki-duk have recognized the lack of an adequate cinematographic language, and have constructed their oeuvre around that absence; while Godard broke the rules and defied the accepted way of doing things with his anarchistic approach (and continues to do so to this day although with less success that in the 60s), Tarkovsky, focused on the expressive beauty of the images, sought → continue…
From:: Taste Of Cinema