How are Egoyan and Bertolucci's respective choices in terms of narrative form (patterns, not stylistic choices) similar? How do they differ?

To answer this question, we first need to understand the narrative forms used by both Atom Egoyan and Bernardo Bertolucci in their films.

Egoyan is known for his non-linear narrative form. He often uses flashbacks, dream sequences, and stories within stories to create a complex narrative structure. His films often explore themes of alienation and isolation, and his narrative choices reflect this. For example, in his film "The Sweet Hereafter," he uses a non-linear narrative to explore the aftermath of a tragic bus accident in a small town.

Bertolucci, on the other hand, is known for his use of linear narrative form. His films often follow a clear, chronological order, with events unfolding in a logical sequence. However, he also uses techniques such as flashbacks and dream sequences to add depth to his narratives. For example, in his film "The Conformist," he uses flashbacks to explore the protagonist's past and how it influences his actions in the present.

In terms of similarities, both directors use non-linear elements such as flashbacks and dream sequences in their narratives. They also both explore complex themes and characters in their films, using their narrative choices to enhance these elements.

However, they differ in their overall use of narrative form. Egoyan often uses a non-linear narrative structure, with events not necessarily unfolding in chronological order. This can create a sense of disorientation or confusion, reflecting the themes of his films. Bertolucci, on the other hand, generally uses a linear narrative structure, with events unfolding in a clear, logical sequence. This can create a sense of inevitability or fate, reflecting the themes of his films.