You refer to a Prologue separated from Act I. I see only Act I, as the presentation of the main CHARACTERS (From the vague “alien’s affairs workers” to the specifics wife and boss… a clear focus on the protagonist), the WORLD (Location, time…) and the SITUATION (We have aliens and they are a problem that has to be dealt with).

Instead of a Prologue, I would say that the presentation is made to remark the separation between THEM and US. What you call prologue I call the presentation of US (the first 10 minutes). And THEY, the aliens, are presented through OUR eyes (The next 10 minutes).

The scene you call THE FLUID, I would call “They are human too”. While searching in the garbage, aliens are shown to have technology (thus they must be smart, even smarter than US) and the attention given to the alien child shows they can be sensitive too. In fact, the preparation of the fluid and the remorse at the moment Wikus has the first symptoms remarks they are very human (A scheme and a full consciousness of it consequences, good and bad consequences. Remorse is a clear expression of empathy/sympathy).

The birthday scene is added to make a point: although we take for granted we are part of the US, the US can make us THEM. That’s why the family environment contrasts with the cold documental-type camera shots, which remind we are being observed (like the aliens) by somebody that has never interacted with us (Think of ethologic or anthropologic documentals; made in the wild, camera cannot be steady, most of the time it must be hand held. There is a sharp contrast with the inserted, solid and clean interviews of the “know-all” specialists. The camera being fixed, the specialist have some control of the images through their movements; in the birthday scene, characters are subjugated to the camera’s point of view – by the way, is only one camera, only one perspective.)

The birthday scene is for the logical structure the most important. Nonetheless, it has to be subtle to consolidate the arguments. Acquiring full consciousness is not a big challenge if patterns are clear. It’s harder to take sides when you are not sure which side you are. (Not being fully conscious of the conditions and your situation makes it very hard to have an opinion or make a decision. As spectator, you still do not know if you are for or against Wikus. Go back in the movie and asks you: Isn’t Wikus trying to do the good thing? … The problem is that he is doing, even thinking, what he is being told to do and think. He believes that’s the good think. When he realizes it isn’t, we achieve the midpoint of the movie).

When Wikus gets sprayed is the Inciting Incident.

The Plot Point One is when his alien hand is revealed. Think of Thelma and Louise, PP1 is when they decide to run. Here PP1 is when they decide Wikus is an alien. In comparison, Thelma and Louise are less conflicted characters in the sense they always know what they want or need. They also know they are free to make their decisions (Thelma just leave without telling his husband). At the end we realize all Thelma and Louise wanted is to escape from responsibilities. They were doing so by letting others make the decisions, the action proceeds and they have no choice than to become responsible of their decisions. That’s why they run away in the final scene; they decide to remain childish. Thelma and Louise movie is emotionally satisfactory. Not only the protagonists are appealing but also achieve an illusion of liberation. District 9 is more intellectual, no big emotional satisfactions, just a feeling of improvement (Wikus can be a subject for respect and compassion).

Thank you for this. It sounds intriguing… like the structure of The Red Shoes?

I will surely check it out.