IELTS Speaking Part 3: Films
7 Part 3 discussion questions on films, with developed sample answers of the kind Part 3 expects.
Do people in your country prefer to watch domestic movies or foreign movies?
It varies by age and region, but overall, foreign movies – especially Hollywood blockbusters – tend to dominate box office revenues. Young, urban audiences often prefer English-language films for their production value, special effects, and global stars. However, domestic movies have a loyal following, particularly family dramas, comedies, and historical epics that resonate with local culture and language. Recently, there has been a surge in pride for local cinema, with several domestic films breaking records by telling uniquely national stories. The streaming era has also blurred preferences, as platforms offer easy access to Korean, Spanish, Indian, and other international hits. So rather than a strict preference, people increasingly choose based on genre and mood – action fans lean foreign, while those seeking cultural familiarity choose domestic.
Do you think only well-known directors can create the best movies?
Not at all – many of the most innovative and beloved movies were directed by newcomers or previously unknown talents. A first-time director often brings fresh perspectives, unconventional techniques, and a hunger to prove themselves, which can result in groundbreaking work. Well-known directors have advantages – bigger budgets, better actors, and studio trust – but those same factors can lead to formulaic, safe movies that lack spark. Film history is full of examples: *The Shawshank Redemption* was Frank Darabont’s second feature, *Get Out* was Jordan Peele’s directorial debut. Moreover, directing is a collaborative art; a great script, a brilliant editor, or a inspired cast can elevate a less experienced director. So while fame helps, it is neither necessary nor sufficient for greatness. The best movie is the one that moves you, regardless of the name on the poster.
What makes a movie a blockbuster?
A blockbuster typically combines mass appeal, high production values, effective marketing, and often a known intellectual property (sequel, adaptation, superhero). The formula usually includes spectacular visual effects, clear good-vs-evil stakes, a charismatic star, and a runtime that allows multiple screenings per day. Release timing is crucial – summer or holiday weekends maximise opening weekend revenue, which drives perception of success. However, word of mouth can turn a modest film into a blockbuster, as seen with *Parasite* or *My Big Fat Greek Wedding*, which grew through positive buzz. Increasingly, international box office, especially in China, determines blockbuster status, so films are designed with global audiences in mind. Ultimately, a blockbuster is not just about money; it is about capturing the cultural moment – a film that everyone seems to be talking about, whether or not it is artistically great.
Are actors and actresses important to movies?
Yes, they are critically important – a great script can be ruined by poor acting, and a mediocre script can be elevated by a masterful performance. Actors bring the written character to life through voice, body language, and subtle emotional choices that no amount of directing can fully dictate. Think of how different *The Dark Knight* would be without Heath Ledger’s Joker – the film’s impact is inseparable from that performance. However, some films, especially animated or heavily stylised ones, rely more on voice acting or visual design. And in certain genres, like nature documentaries or experimental cinema, acting may be minimal or absent. But for narrative fiction, acting is the primary channel through which audiences connect emotionally. A charismatic or deeply skilled actor can make you care about a character you would otherwise dismiss.
Do you think films with famous actors or actresses are more likely to become successful films?
Statistically, yes – a famous name can guarantee a certain level of interest, especially from distributors and exhibitors who need to fill seats. Star power opens doors: better release slots, larger marketing budgets, and international sales. However, many star-driven films have flopped spectacularly when the script was weak or the star miscast. Conversely, relatively unknown casts have launched massive franchises (the original *Star Wars*) or won Best Picture (*Slumdog Millionaire*). Famous actors are a form of insurance, but not a guarantee of quality or profit. In fact, there is a phenomenon called “star decay” where audiences become fatigued by seeing the same faces in every blockbuster. So while fame helps at the box office opening weekend, long-term success depends on the film itself – word of mouth will eventually override the lure of a famous name.
What kinds of movies are successful in your country?
In my country, the most commercially successful movies are typically big-budget action films (often from Hollywood), followed by locally produced family comedies and romantic dramas. Superhero films almost always perform well, drawing audiences of all ages for their spectacle and familiar characters. Animated films, especially from major studios like Pixar or Ghibli, also do exceptionally well because parents trust them for children. Historically, war epics and patriotic historical dramas have had moments of massive success, tied to national anniversaries or political moods. Interestingly, horror films have a dedicated but niche following; they rarely top the annual box office but are very profitable relative to their budgets. The least successful tend to be slow, art-house dramas with ambiguous endings – local audiences often prefer clear resolution and emotional satisfaction.
Do people in your country still go to cinemas often?
Yes, but less often than before the pandemic and streaming boom. Going to the cinema remains popular for major event films – the kind that benefit from a big screen and communal experience, like *Avatar* or *Oppenheimer*. For most other releases, many people now wait to watch at home, especially given the shorter window between theatrical release and streaming availability. Young people still treat cinema as a social outing, combining it with dinner or drinks, but they are more selective about which films warrant the cost. Older audiences have largely shifted to home viewing, citing comfort, subtitles, and the ability to pause. Cinema attendance will probably never return to pre-streaming peaks, but it is not dying either – it is becoming a premium, occasional activity rather than a weekly habit.
Reading a model answer is not the same as saying one. The sample above shows what a strong Part 3 answer sounds like. What it cannot tell you is how yours sounds — whether you hesitate, repeat the question back, or run out of things to say at forty seconds.
You can record an answer to this exact question and get it marked on fluency and coherence, lexical resource, grammatical range and pronunciation — the same four criteria the examiner uses.
Common questions
How is Part 3 different from Part 1?
Part 1 is about you; Part 3 is about people in general. The questions move to society, causes and consequences, and the answers are expected to be longer and more developed — an opinion plus a reason plus an example.
What if I have no opinion on the question?
You are not marked on the opinion, so pick one and support it. Saying you have never thought about it and stopping there leaves the examiner nothing to assess.
How long does Part 3 last?
Four to five minutes. The topics develop out of your Part 2 card, so the discussion is usually connected to what you just described.
Model answers written and reviewed by The English All-in-One IELTS team. They are teaching models showing what each band looks like, not real candidate scripts.