The main purpose of the essay is to find out how Ruben Östlund dramatizes the thematic

subject of peer pressure in his film

De Ofrivilliga (2008), compared to conventional theories

about the narrative of story and group psychology based on Craig Batty’s (2010) and Lars

Svedberg’s (2012) works. By creating a model based on certain values a well-functioning

group should have and a narrative model of twelve steps, the five scenarios of the film can be

analysed. Since each scenario has five parts spread out over the course of the playtime, each

scenario is most easily analysed in isolation. Then, after this analysis, all of the scenarios are

compared and discussed together as a whole and complete piece of art. The result shows that

the scenarios actually follow many of the external narrative steps, but usually lacks steps that

take place internally in the characters. The characters often deny their emotional journeys and

individual expression since it would harm their reputation and status in the group. This is

intentional and shows the films true message, which is to show the viewer that groups have a

very strong will of its own and can easily censor individual voices, especially if they are

critical towards the group. Östlund seems more concerned with starting a discussion about

peer pressure by showing a multitude of perspectives, rather than giving obvious answers to

the problems the film poses. This answers the question why some conventional narrative steps

are missing. The characters are not supposed to have complete transformational narrative arcs.

Instead, the film is told directly to its audience.