The theorist, Todorov, suggested a slightly more complicated five stage narrative structure.

1. A state of equilibrium at the outset. 
2. A disruption of the equilibrium by some action. 
3. Recognition that there has been a disruption.
4. An attempt to repair the disruption.
5. Reinstatement of the equilibrium.

Explains the most well known narrative structure - Todorov.  https://www.englishandmedia.co.uk/media-magazine/articles/15875


Arthouse films, which obviously can also be in English, are artistic rather than commercial in character. In other words, they are films that are purposely difficult to understand or 'read'. Those who think of cinema as being simply entertainment, which is easier to read, are rarely likely to watch an arthouse film. - A new kind of narrative that goes against expectations. 

Bordwell goes onto to say that arthouse is also characterised by 'maximum ambiguity', where a bizarre turn of events can only be 'explained' by characters' subjectivity, rather than the world of the film. So the producers of art cinema are not in the business of making it easy for audiences to read the film. -The appeal of arthouse and the making of unconventional structures. 

We expect this narrative closure because of Hollywood's hegemony. In other words, we think that films are meant to resolve narrative problems because that is almost always what Hollywood does; and, for many, Hollywood defines what cinema is because they have grown up only seeing that type of film.- Why we expect a conventional narrative structure and who influences us. 

Those who take the option to embrace difficult texts, which can readily be unlocked with a little internet research (unless being impenetrable is the film's raison d'etre - see, arguably, the films of David Lynch), often find that their choices in life, and indeed their understanding of life, are enhanced. And, of course, the more arthouse films that a person watches, the more they gain cultural competences. In itself, this doesn't make you a better person - for that's pure snobbery; but it might mean you get more out of existence. Which is not to say that arthouse is better than mainstream films; in fact there's more than enough room in life for both. - The benefits/effects of a not so conventional narrative. 

https://www.englishandmedia.co.uk/media-magazine/articles/16927

Although many games can be readily analysed using Todorov's situation-disruption-resolution pattern, games added the element of levels where, in effect, the narrative starts again but with bigger problems/obstacles. In a sense game narratives use the structure of serials but without being contained by a text. - Narrative structure of games. 

The growth of broadband has encouraged web-only narratives, and new developments in mobile phones have led to narratives being compressed into mobisodes; presumably because audiences don't want to watch small screens for too long and/or the shorter they are, the cheaper watching them becomes.- The technological development of narratives.