Upon significant analysis of the narrative of Revenge (2017), narrative transitivity is evident. In addition, the plot follows the cause-effect progression of the storyline as in Hollywood classical narratives. According to Wollen (1972) , counter-cinema relies on juxtaposing unconnected events in the narrative, something not found in the film Revenge (2017). Several unconnected shots have been used as montages to convey a deeper meaning in the film, which is an essential feature of counter-cinema. The film follows a classical Hollywood narrative (exposition, complications, and resolution), in which Jennifer seeks revenge. This film does not seem to adhere to the counter-cinematic concept of breaking an emotional spell by refocusing the audience’s attention.

The narrative of Revenge (2017) provides the audience with a psychological and emotional connection to Jennifer after the rape scene. Empathy for characters is a crucial element of Hollywood narratives. Moreover, Revenge (2017) does not feature non-matching voices, does not introduce “real people” in fiction or contains characters who address the audience, as described by Wollen (1972) . It is the last shot of Revenge (2017), where Jennifer looks directly at the camera as she stares directly at the audience, creating a dynamic relationship between the filmmaker through Jennifer and the audience.

Revenge (2017) provides a smooth flow of visuals, and it does not reveal how the visuals were created in such a way that would undermine the illusion and enjoyment of the visuals and stories, as in Hollywood films. Throughout the narrative flow, spectators are captured exclusively. The film served its semantic purpose by using metaphorical images as iconic code, such as juxtaposing images of Lizards eating apples, insects’ eating apples, and eagles attacking Jennifer in the nighttime. In this way, Revenge (2017) attempted to introduce counter-cinema elements into its narrative.

There is a linear narrative structure in the film. Consistent linearity in time and space plays a crucial role in the story’s progression. In contrast to Hollywood’s homogenous world, counter-cinema offers a heterogeneous one. Revenge (2017) creates a world in which only one diegesis exists by creating an utterly homogenous world through the narrative. The film shows an integrated and coherent world.

The film’s resolution has closure, just as in Hollywood films. At the clouser, there is no ambiguity. Jennifer’s Revenge has resolved the plot’s conflict, which was also the character’s goal. According to Wollen (1972) , the narrative of counter-cinema remains open after it ends, and ambiguity persists.

Revenge (2017) contains bloodshed and violent scenes, but it also entertains spectators. Unlike counter-cinema, it does not challenge, provoke, or irritate spectators through narrative. Nevertheless, this film makes the viewer aware of the dark side of bourgeois patriarchy that treats women as mere sexual objects.

The function of counter-cinema is the struggle against fantasies and ideologies. Various shots and angles in Revenge (2017) demonstrate breakdown and disruption. However, viewers still feel as if they are watching a film rather than in the real world. A significant part of Revenge (2017) interferes with fantasies and ideologies. Even so, the film narrative exposes the real face of the world; in a sense, it is political because it attacks bourgeois ideas.