It is found that many vision-language models struggle on this task (with many performing at near-chance levels of accuracy), while audio-visual models (including those that use audio in captioning scenes) reach a maximum accuracy of 61.1%, well below human-level performance.
Abstract
Multimodal language models increasingly show promise for enabling the large-scale computational analysis of film, opening up new avenues for learning about film history and the evolution of narrative techniques. But the creation of stable benchmarks built around Hollywood films is complicated by copyright protections. In this work, we address these concerns directly, by building a new collection of Hollywood films defined by two criteria: box office popularity (where we publish the first large-scale, open collection of weekly box office earnings reported by Variety magazine from 1922-1979); and likely public domain status (by researching copyright registrations and renewals in the US Catalog of Copyright Entries). We build a new multimodal MCQ benchmark on top of this collection that focuses on narrative elements that directly evaluate the abilities of models to inform meaningful research on film narrative; we find that many vision-language models struggle on this task (with many performing at near-chance levels of accuracy), while audio-visual models (including those that use audio in captioning scenes) reach a maximum accuracy of 61.1%, well below human-level performance.
Films communicate through deliberate creative choices, including lighting, color, composition, editing, dialogue, music, and sound. Humans naturally interpret these signals as directorial intent, yet current multimodal large language models (MLLMs) are evaluated almost exclusively on understanding what happens rather than why it is presented that way. We introduce TAKE 85, the first benchmark for directorial-intent understanding, comprising 398 short films (85 hours) with expert-verified question-answer pairs spanning global and fine-grained visual and audio intent. Through controlled modality ablations, TAKE 85 enables systematic evaluation of multimodal reasoning. Experiments on state-of-the-art MLLMs reveal a substantial gap between perceptual recognition and intentional understanding: while models accurately describe events and narratives, they consistently fail to infer the communicative role of filmmaking decisions. Our results establish directorial intent as a previously overlooked dimension of multimodal understanding: even the strongest model reaches only 58 out of 100, and our ablations show that no input modality is sufficient on its own. All code, Q&As, and models are publicly available from https://github.com/KaiShinozakiConefrey/Take-85
NARU, a benchmark designed to evaluate Narrative evolution and Reasoning on cultural Understanding in Japanese long-form video, is introduced, a hierarchical memory-based annotation pipeline that transforms raw video into structured event, narrative, and cultural annotations, then generates questions via task-oriented synthesis and iterative shortcut removal.
Yuheng Huang, Jianlang Chen, Jiayang Song et al.· 0 citations
Large language models (LLMs) are trained on corpora that contain expressions of human judgment about films, books, music, and more. Yet whether LLMs systematically reproduce evaluative hierarchies remains unclear. Prior research on cultural bias in LLMs suggests competing expectations: models may mirror the popularity signals of internet texts, or may reproduce forms of prestige embedded in critical discourse. We probe this question through a study of film evaluations with eight models from four families (Anthropic, OpenAI, Alibaba, and Mistral), using a 200-film benchmark partitioned into critically acclaimed, commercially successful, and dual-legitimacy (critical acclaim + commercial success) films. Across 20,000 pairwise forced-choice comparisons per model analyzed with Bradley--Terry estimation, we observe a consistent critical acclaim orientation with all models: critically acclaimed yet commercially obscure films are selected over commercially successful yet critically unrecognized ones. This pattern grows with model scale within each family. In addition, nested OLS regression analyses show that evaluative orientation, public visibility, and popular reception distinctly help explain preferences. Adjusting for public visibility reverses the models'preference for dual-legitimacy films over critical acclaim-only films, while additionally accounting for popular reception attenuates much of the disadvantage of films with commercial success only. Finally, evaluative and recommendation-oriented prompt framings produce divergent rankings, suggesting that critical acclaim orientation may manifest indirectly in real-world LLM deployments.
Visual learning aids in the form of comic strips based on literary prose require prohibitive generation costs and complicated procedures for educators. In contrast, this paper introduces Kapow! AI, which synthesizes annotated comic strips from narrative text using entirely open source resources within a typical Google Colab notebook setting equipped with a T4 GPU. The process involves three open-weight models: a BART-large-CNN summarization model, which extracts scenes from the text, Stable Diffusion v1.5 to synthesize corresponding image panels, and a PIL annotation layer which captions each image panel with the extracted scene description. Proprietary APIs and commercial services are not needed for the process. Tested on fifteen public domain texts from three fictional genres, the proposed pipeline yielded an average CLIP alignment of 0.31 and user experience score of 4.0 out of 5. The main drawback of the model is character inconsistencies between panels due to independent image generation per panel.
Baby Shalini V, Raj Kumar P, S. A et al.· 2026 4th International Confe...· 0 citations
While MLLMs have made significant strides in chart comprehension and video understanding, current evaluations largely isolate these capabilities, leaving a critical gap in understanding temporally evolving structured visual information. To address this gap, we introduce DVBench, a benchmark for evaluating MLLMs on data videos, a storytelling medium that integrates dynamic charts with structured narratives. We decompose data video understanding into five dimensions. DVBench comprises 300 real-world data videos and 1,000 human-verified QA pairs curated through a rigorous semi-automated pipeline. Extensive evaluations of nine MLLMs show that Gemini-3.1-Pro achieves the best overall performance, while Kimi-k2.5 is the strongest open-source model. We further identify two notable phenomena: open-source model performance does not scale strictly with parameter size, and narrative proficiency does not guarantee visual capability. Fine-grained analyses and ablation studies further reveal dimension-specific weaknesses and the effects of frame configurations and subtitle inputs, informing future MLLM development. DVBench is publicly available at https://bomiaowang.github.io/DVBench/.
Bomiao Wang, Zekai Shao, Jiexiang Lan et al.· 0 citations
Narrating the visual component of movies is known as audio description. It is a narrative technique designed to enable blind and visually impaired individuals to follow the story. However, it is far more constrained than most narratives: the descriptions not only need to convey the story in the movie, but they must also fit into gaps between dialogue and they need to conform to guidelines that exist in each region. In this work, we compare audio description created in the United Kingdom against audio description created in the United States. We use guidelines written for these two regions, alongside the impressions from a practitioner in the field, to motivate specific hypotheses about the differences. We test these hypotheses against our pre-existing corpus, which provides both human-authored American and British audio description for each of 206 movies. Results provide quantitative evidence to uphold all tested hypotheses, including differences in lexicon, the use of the progressive aspect, the use of passive constructions, the use of subjective adjectives and modifiers, when characters are named, how scenes are cued, and degree of overlap with movie dialogue and music. Our work offers a quantitative lens into the narrative technique of audio description.
Igor Sterner, A. Lascarides, Frank Keller· 1 citation