Kenneth Lonergan’s Manchester by the Sea (2016) is one of the most profound cinematic explorations of grief in recent years. The film follows Lee Chandler (Casey Affleck), a withdrawn janitor living in Quincy, Massachusetts, who is forced to return to his hometown after his brother’s death. There, he must confront his painful past while becoming the reluctant guardian of his teenage nephew, Patrick (Lucas Hedges).
From a screenwriting perspective, Manchester by the Sea offers an exceptional case study in how to write grief authentically. The film’s narrative structure, use of subtext, and emotionally charged yet restrained dialogue make it a masterclass in crafting a story about loss and healing without falling into melodrama.
Subverting Traditional Grief Narratives
Most films about grief follow a familiar arc: a character suffers a loss, endures emotional turmoil, and eventually finds some form of closure or redemption. Manchester by the Sea subverts this expectation by presenting a protagonist who remains fundamentally unchanged by the end of the film.
Lee does not experience a dramatic emotional breakthrough. He does not come to terms with his past in a way that allows him to start fresh. Instead, the film acknowledges that some wounds never fully heal. His grief is not something to be “overcome” but rather something he must learn to live with, much like real-life loss.
For screenwriters, this approach is a powerful reminder that emotional arcs do not need to be neatly resolved. Instead, they should reflect the complex and often unresolved nature of human emotions.
The Power of Flashbacks
One of the most striking narrative choices in Manchester by the Sea is its use of flashbacks. Rather than using them as mere exposition, Lonergan weaves these moments seamlessly into the present timeline, mirroring the way traumatic memories intrude upon everyday life.
Lee’s past is revealed in fragments, forcing the audience to piece together the reasons for his withdrawn and self-destructive nature. The moment we discover the full extent of his trauma—his unintentional role in the fire that killed his children—hits with devastating force because it is withheld until we have already become deeply invested in his character.
For writers, this serves as a lesson in the art of withholding. Instead of front-loading exposition, consider revealing key backstory elements at moments of maximum emotional impact. Let the audience experience the story as the character does, allowing past and present to intertwine naturally.
Authentic Dialogue and Subtext
Dialogue in Manchester by the Sea is often indirect, filled with hesitation, awkwardness, and unspoken pain. Instead of delivering overt emotional declarations, characters communicate through subtext, silences, and deflections.
For example, in the scene where Lee and his ex-wife Randi (Michelle Williams) encounter each other on the street, their words are simple, almost mundane. But beneath their brief exchange lies an ocean of pain, regret, and love. Randi’s repeated “I should go” and Lee’s inability to engage in prolonged conversation speak volumes more than any dramatic monologue could.
As a writer, studying Lonergan’s dialogue teaches an essential screenwriting lesson: real emotion is often found in what is not said. Grief is rarely expressed in perfect, poetic soliloquies; more often, it manifests in broken conversations, avoidance, and everyday moments laced with unbearable weight.
Character-Driven Storytelling
One of the film’s greatest strengths is its unwavering commitment to character over plot. The story does not hinge on dramatic twists or external conflicts but rather on the internal struggles of its protagonist.
Lee’s grief shapes every aspect of his life—his reluctance to form new connections, his self-imposed isolation, his inability to return to Manchester permanently. Even his interactions with Patrick are colored by his pain. Rather than becoming an idealized father figure, Lee remains emotionally stunted, unable to provide the warmth Patrick craves.
For screenwriters, this is a reminder that compelling drama does not always come from action-packed plots. Instead, deep, character-driven storytelling—where emotional stakes are prioritized over external events—can be just as, if not more, impactful.
Finding Moments of Light in Darkness
Despite its heavy themes, Manchester by the Sea is not an entirely bleak film. Lonergan skillfully integrates moments of humor and warmth, particularly in Lee and Patrick’s interactions. Their awkward, sometimes comedic dynamic adds a layer of realism and prevents the film from becoming emotionally oppressive.
For instance, Patrick’s juggling of multiple girlfriends and his teenage stubbornness create moments of levity, even as he grapples with his father’s death. These touches of humor make the grief more bearable—not just for the characters, but for the audience.
This balance of tragedy and humor is something all writers should take note of. Grief, in reality, is not a singular emotion; it exists alongside laughter, frustration, and absurdity. Including these nuances in writing makes characters feel more human and their pain more authentic.
The Unfinished Nature of Healing
By the end of Manchester by the Sea, Lee makes a small step toward healing—he arranges for Patrick to stay with another family member rather than cutting ties entirely. However, he remains unable to live in Manchester and fully embrace his role as a guardian.
This conclusion is far from the typical cathartic resolution seen in many films, but it is deeply truthful. Some griefs are not meant to be “resolved.” Instead, they become a part of the person who carries them.
For writers, this is an important takeaway: not every story needs a perfect ending. Sometimes, the most powerful narratives acknowledge that healing is a slow, ongoing process, not a singular event.
Final Thoughts
Manchester by the Sea is a masterclass in writing grief, offering invaluable lessons in subtext, character-driven storytelling, and the complexity of healing. Kenneth Lonergan’s script avoids clichés and instead presents loss in its raw, unvarnished form—messy, unresolved, and deeply human.
For any writer looking to craft a story about grief, Manchester by the Sea is an essential case study. It reminds us that true emotional resonance comes not from grand gestures or neatly wrapped endings, but from the quiet, painful, and sometimes even humorous moments that define the human experience.
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A.I. in Screen Trade 