Facial Dialogue occurs when a character is communicating not just his emotional reactions or intense feelings, but entire reams of dialog using nothing more than their facial expressions and without saying a single word. When two characters do this to each other, it results in entire paragraphs of byplay, all perfectly understandable to the audience despite the entire exchange being silent.
Used correctly, such scenes can be as good as, or even better, than those with actual spoken dialogue.
Eye Take, Aside Glance and Fascinating Eyebrow may be used as part of the Facial Dialogue, but by themselves are only limited versions. Often the forte of The Silent Bob, The Voiceless and The Quiet One. Often featured in a No-Dialogue Episode. It is just as often used by characters who are perfectly capable of speaking, but just don't on this occasion, but in that case you should consider whether or not it qualifies instead as a Meaningful Look.
- Takeo from Magic User's Club has literal facial dialogue at times, with his thoughts being written out on his face.
- Kino's Journey has an excellent example in one episode: Kino is in the land of the people who drank nanomachines that transmitted every thought and feeling, and each eventually had to live apart from everyone. After the man telling the story finishes, Kino's pep talk causes him to realise something; he silently thanks her, and her expression clearly says, "You're welcome." She explains all this to Hermes to ensure the audience get the point too.
- Kotarou from Gakuen Babysitters, who rarely speaks actual words due to being a young toddler, usually communicates in this fashion.
- Baccano! has Chane, according to Claire. No one else can see it, but mostly they know better than to question him.
- Akira Oono, the titular character of High Score Girl, relies almost entirely on facial expressions to communicate with others despite not being mute to begin with.
- Duma, the Angel of Silence, speaks entire volumes with nothing but expressions in The Sandman. His gestures and actions also say (and accomplish!) volumes more than his partner, Remiel, despite his almost complete inability to shut the hell up.
- The "intra-couple communication stealth mode" (between Empowered and Thugboy). Subtitled for the reader's sake.
- Watchmen is famed for doing this as well as having dialogue, adding a lot of depth to characters. The most famous example is when Rorschach's landlord begs him not to reveal to her children that she is a prostitute—his silent response is fascinatingly difficult to decipher.
- Peewee Friendly seems to communicate with his big brother Freckles by this means in the Richie Rich comics.
- Early on expressions and body language were Cassandra Cain's only way to communicate since her father didn't think learning how to talk was one of the skills she needed to be the perfect assassin.
- Much Ado about Shakespeare: Love's Labours Won: Friends and fellow officers Horatio Hornblower and Archie Kennedy bet drinks and dinner at the inn that Archie can/can't speak only in Shakespeare's quotes for 6 hours. When they are at the hat shop, Archie tries to tell Horatio what he thinks of various hats that Horatio's trying on in case he doesn't get the meaning from the quotes. This part of the fic is written like a script and these are some of the notes: [Archie stares at him meaningfully], [Archie raises an eyebrow] or [Looks skeptical].
- Wallace & Gromit: Gromit. Although it's a necessity in his case, since he's mute, and he's a dog.
- Dopey, from Snow White and the Seven Dwarfs, does this throughout the entire film. Like Gromit, he does so because he is mute.
- Toothless from How to Train Your Dragon cannot speak, but you can always get a pretty good idea of what he's thinking by reading his facial expressions. There are even a few scenes where Hiccup and Toothless seem to communicate with only this.
- The student film In a Heartbeat has no dialogue and so the characters communicate solely through Facial Dialogue.
- In the first Ice Age film, Diego has almost no dialogue during the scene where it's revealed that Manny lost his family to human hunters. But his facial expressions tell the audience exactly what he's feeling.
- In Kung Fu Hustle, the landlady of Pigsty Alley pays a visit to Sum's car to give them a long-winded talking-to, which she does with much aplomb, and without speaking a single word out loud (though some of her dialogue comes from her hands, or rather, her fists. She doesn't punch anyone but she makes it clear that she has no qualms about doing so in future if necessary. She then sends the intruders off without inflicting any physical harm, but she's delivered a wordless ultimatum that was clearer-than-crystal.
- During the opening robbery, River and Zoe have a short conversation using nothing but facial expressions that goes something like, "That guy." "That guy? Are you sure?" "Are you kidding me or just an idiot? Of course I'm sure! That guy!"
- Jake, the Plucky Comic Relief Sheriff's Deputy in Support Your Local Sheriff, does this a lot. It was one of the things Jack Elam, the actor playing Jake, was best known for.
- Gene Kelly has a few memorable looks, including one moment during the dance scene of "You Were Meant For Me."
- Akira Kurosawa was excellent at getting this out of Toshiro Mifune.
- A short scene in The Hidden Fortress had Tahei (Minoru Chiaki) and Matashichi (Kamatari Fujiwara) giving "You go first!" "No, you!" looks to each other as they hesitate to confront General Makabe (played by Mifune).
- John Cusack has a deep and profoundly spiritual conversation with a baby using nothing but expressions in Grosse Pointe Blank.
- As It Is In Heaven, a Swedish film, where in one scene two main characters have such a non-verbal conversation.
- Some Silent Film stars mastered this out of necessity; e.g., Harold Lloyd, Charlie Chaplin, etc. The last scene of City Lights, in which a whole mix of emotions play out on Charlie's face when he meets the flower girl again—joy, relief, shame, fear—is a master class in this trope.
- Those who, for whatever strange reason, doubt the incredible acting abilities of James Earl Jones should take note of an early scene in Conan the Barbarian (1982) where Jones as Thulsa Doom uses nothing but the power of his eyes and face to (quite convincingly) trick Conan's mother into thinking he's going to let her go.
- In Animal House, a lot of Bluto Blutarsky's "dialog" is this.
- Gone in 60 Seconds (2000) features one character, called "The Sphinx" by the other characters, making a phone call and using nothing but Facial Dialogue to do so. On the other end of the conversation, Memphis can't tell if anyone is actually on the line and asks Sphinx to hit a button on the phone to indicate if he's there.
- In The Brothers Bloom, Bang-Bang has only two spoken lines of dialogue, comprised of only three entire words, and yet manages to be a complete Deadpan Snarker the entire film.
- In The Fugitive, a couple of meaningful looks between prisoners on the bus is all Richard Kimble needs to see to realize that they're about to make a violent escape attempt.
- In the teaser trailers (and posters for that matter) released for The Hunger Games: Mockingjay Peeta doesn't speak a word, yet his face conveys that the hijacking is well in progress.
- In the final scene of The Lives of a Bengal Lancer, Colonel Stone and his son, a junior officer exchange a handshake and a brief look that says volumes more than they've managed to in the whole movie preceding it.
- The final scene of The Long Good Friday consists of Bob Hoskins sitting silently in the back of a car and slowly realizing that he is completely fucked.
- In the climax of Wonder Woman (2017), while Steve Trevor has no significant dialogue after getting aboard the plane, Chris Pine conveys the conflict of a visibly terrified Steve psyching himself up to blow up the bomb-laden plane while on board entirely through facial expressions.
- Hilariously subverted in Pirates of the Caribbean: The Curse of the Black Pearl. Jack tries to subtly get Gibbs to look at Will using facial dialogue. When that fails, his subsequent attempts become comically more overt while Gibbs remains oblivious.
- In Blade Runner, Roy and Priss share their confidences and opinions about J.F. Sebastian using a few seconds of eye contact.
- Mad Max: Fury Road has a lot of this. There's very little dialogue in the film, and even the most important story and character moments are often communicated through facial dialogue. One example is seeing Max realize he has a chance to escape once Slit unlocks his chains on Nux's car. The seconds-long look that Furiosa gives Max, who she was trying very hard to kill half an hour ago, when they're fleeing from Joe's forces and he wordlessly hands her a sniper rifle says more than a full page of dialogue could.
- Used to beautiful effect in The Good, the Bad and the Ugly, particularly in the Mexican Standoff where an exchange of glances between Blondie and Tuco show us that they agree to both shoot Angel Eyes.
- Ryan Gosling uses this a lot in Blade Runner 2049, appropiately since his character is a Replicant. A particularly good example comes in his "conversation" with the giant pink hologram Joi. He never says a word during the scene, but his silent, stone-faced reaction to the advertisement woman calling him by the pet name his own "unique" copy of Joi used for him solidifies his desire to be more than just a machine, a desire he acts on by flying out to rescue Rick Deckard from Wallace's men.
- Mathilda May's character in Lifeforce is a mostly silent (and always unclothed) space vampire. Many of her interactions with her intended victims are entirely done via facial expressions, the best examples being during the sequences where she escapes from the Research Center at the beginning of the movie: a devilish smirk when she spots a soon-to-be-a-shriveled-corpse guard, a dismissive glance when she encounters the rest of the security force in her way out that soon morphs into a sadistic grin and a death glare as she blast them away without a second thought, just to name a few.
- Invoked in Fallen Angels where He Qiwu communicates largely through his facial expressions because he's mute. He acknowledges that while he isn't sure that he's able to say everything, especially to Charlie, he gets the feeling that he's generally understood.
- In Thor: Ragnarok when Thor and Loki come after Odin, Loki suddenly resorts to being The Quiet One. The only word he says from the moment he falls though the portal to the moment of Hela's arrival is "brother" after their father's death. Be it the looks of surprise and pained recognition when Odin welcomes his sons and later says that he loves them both, slightly shaking his head to tell "this isn't me" when asked to lift his magic, the "I don't know" look when Thor silently inquires about Hela, or the Meaningful Look between Loki and Thor when they decide to put aside their differences once their sister shows up, — his reactions are conveyed via facial expressions alone.
- The Divine Comedy: Late in Dante's Purgatorio, Virgil manages to say "Be still" to Dante with only his face, not wanting to reveal to the ghost they're who they are just yet.
- Taken to extremes in the Foundation series. The members of the Second Foundation have the ability to telepathically detect and alter emotions, but can't actually read minds. Nevertheless, they are all so thoroughly acquainted with one another's minds that they can have entire conversations based almost solely on facial expressions and body language, saying more than an occasional word is considered superfluous.
- An amusing variation in Judge Dee: While interviewing a possible suspect (an antiques collector), the judge passes his lieutenant as a connoisseur himself. The suspect eagerly asks him his opinion on a new piece of he has doubts on. The unfortunate lieutenant pulls off an expression of such disgust that the guy says he thought it was a fake, but he didn't think it was so obvious.
- The little girls in Zilpha Keatley Snyder's novels often give each other communicative looks, demonstrating the almost-ESP said girls experience when together. Ivy and Martha do this a few times in The Changeling, usually over the real-world confirmation of an element in their imaginary games. In The Egypt Game, April and Melanie look at each other this way when something strikes them as particularly appropriate for Egypt. Toby grouses that it's "like they have Siamese brains or something". When Pomma and Teera in the Green-Sky Trilogy do this, sometimes they actually are communicating telepathically.
- Tortall Universe: Aly and Dove manage to hold an entire conversation like this in Trickster's Queen. (Apparently it's a hereditary trait, as in the previous book Aly notes how Dove's father and stepmother are able to hold a conversation purely by facial expression. She considers it a sign of a good marriage.)
Word of the arrests reached Balitang House in the early evening. Dove, furious, came flying into the workroom as Aly met with her pack. Aly smiled at her young mistress as sweetly as she knew how. They understood each other. Dove did not need to ask if Aly had known about the arrests. Aly did not need to tell her that she had the matter in hand. The girl turned and walked out again.
- In one segment of World War Z, a mercenary discusses with the author how he met a celebutante's dog and they shot each other looks in the middle of a firefight that conveyed the message, "What about your master?" with the reply being, "What about yours?", and the final reply "Fuck 'em".
- On 30 Rock, the male writers are using Jenna to get invited to a gay Halloween party. After she informs a gay friend of hers of this, this exchange follows.
- The page quote comes from an episode of Babylon 5. After Ivanova told Delenn that Sheridan had been "carrying on cranky", Delenn (being a Minbari, mostly fluent in English but not a native speaker) tried to look up the word "cranky", only to be given the runaround as she got shunted from one synonym to another. Finally, partway into a conversation with Sheridan, she finally got it just by looking at his rather grumpy expression.
- The show was excellent at demonstrating this, not just describing it. For all the wit and carefully constructed cleverness of its dialogue, some of the strongest moments in the whole show were those with none whatsoever. The most powerful was almost undoubtedly Londo Mollari watching the bombing of planet Narn, there's not a word of dialogue in the entire scene, but Peter Jurasik's brilliant acting speaks volumes about how he's feeling in that moment.
- Buffy the Vampire Slayer:
- "Hush" features demons that steal all of the voices in Sunnydale. Although the cast sometimes use handwriting, they also rely on this trope out of necessity.
- There's also the scene in season 5 where Buffy and Giles have a long discussion about him dressing up in a Robe and Wizard Hat for the opening of the Magic Box without either of them uttering a single word.
- In the first episode of Cimarron Strip, Marshal Crown and jailed gang member Rocky exchange glances. Crown's face says, "I'll get the information of who you're working for out of you yet", while Rocky's face reads, "Not on my watch, you'll see."
- Doctor Who:
- The Tenth Doctor and Donna Noble play this trope for laughs in "Partners in Crime". They are both spying on the episode's villain by looking through adjacent windows, the villain's office between them, and catch each other's eye. A conversation follows using comically exaggerated expressions, lip reading and mime. The conversation ends when Donna gestures to the villain, who, it turns out, has been watching them embarrass themselves and simply asks, "Are we interrupting you?"
- Thanks to Peter Capaldi and Jenna Coleman having very expressive faces, the Twelfth Doctor and Clara Oswald often engage in this. Spectacular examples can be found in the episodes "The Caretaker", "Under the Lake" and "Hell Bent".
- In An Adventure in Space and Time, William Hartnell wants to find ways to do this when he starts to have trouble remembering his lines. The scene happens in mid-1965 or so, and by this point Hartnell isn't at all well; the memory problems are a symptom of his illness. His efforts at finding a workaround seem more of a quick fix for a problem that will eventually get worse.
- The frequent use of this in Eastenders is mocked by Charlie Brooker in Weekly Wipe, in which he describes most of the inhabitants of Albert Square as "communicating in some sort of weird silent theatre of the mind".
- Used in Everybody Hates Chris. While narrating, Chris says that his parents would try not to fight around them, but they did have their fights through facial expressions.
- Simon Tam did this a lot in Firefly, particularly with his sister. It's probably genetic.
- The scripts for Frontline frequently had lines in parentheses if they were intended to be implicit in facial expressions or body language.
- Game of Thrones:
- The very first episode has old friends Ned and Robert meeting again for the first time in years. The first words Robert, a classic Adipose Rex, says to Ned? "You've got fat." Ned replies by giving Robert a once-over and raising his eyebrows, a perfect nonverbal, "Look who's talking."
- The Small Council scenes are full of this, with special note going to Conleth Hill's Varys, who manages to snark without saying a word, and spotting his facial expressions in the background as other characters are talking has become an unofficial sport among fans. In "Mhysa" everyone reacts to Joffrey mouthing off to Tywin with a variation on an oh shit expression, but each with different connotations.
- In "The Winds of Winter", Samwell Tarly arrives at the Citadel with his wildling wife Gily in tow. The Maester he presents his credentials to manages to convey a surprising range of amusing emotions for a Comically Serious impassionate drone with just a few face gestures:
(Raises eyes from his book and glances over Sam and Gily) [What the hell is this?]
(A slight head tilt when Sam expects him to reach for the letter) [Yeah, big guy, not happening.]
(Gives Sam a look over after reading the letter) [You're kidding me, right?]
(A side glance to Gilly with a baby) [And they feature in your story... how?]
(After Sam tries to win him over with his best charmer smile and a deep existential observation, the Maester gives him a long look, tightens jaw, briefly closes eyes) [Bloody hell, this is for real, why did it have to be me, alright, might as well get on with it.]
- After losing his hand, whenever someone starts to bring up the subject of his incest and parenthood, even if indirectly, Jaime usually produces a begging "Please don't" wounded gaze.
- In the Blu-ray commentaries, showrunners Benioff and Weiss...rather bluntly admit that they're obsessed with this. To the point that they admit, word for word, that most of the storylines they went off-book for were purely because they're in awe that their own cast members (professional actors) are capable of emoting a range of meanings non-verbally with their facial muscles. As in everything that happened to Dorne for Season 5 onwards was justified as "don't you want to see Indira Varma (Ellaria) making an angry face?" Deciding to truncate Stannis's story then kill him off? They wanted the Stannis actor to give a great Facial Dialogue scene when he dies. They don't even hide it by Season 7: the post-episode behind the scenes videos, if you pay attention, are filled with the showrunners just...ranting about closeups on the core cast members' faces, emoting at the camera. Right before Season 7 was released, someone figured out that the Emmy Awards website keeps an archive of any episode that ever won an award, i.e. episode 5.10 and 6.9, which meant we finally got to see their filming instructions in the script: they're filled with...hyper-detailed, lengthy descriptions of a sentence or two's worth of meaning that they intend to get across in just the actor's face with no dialogue. Things such as "Daenerys shoots the slaver a look that says, 'No, motherf—ker, my reign of terror has only just begun". Ask yourself: how would someone emote that? In theory?
- Generation Kill: In the second episode, "Cradle of Civilization", Encino Man announces over the radio that the convoy got lost because Colbert took a wrong turn (omitting the fact that Encino Man ordered him to take that turn despite his protest that it was the wrong road). Colbert keys the mike on his radio to say something in response, but Lieutenant Fick makes eye contact with him and shakes his head, silently convincing Colbert to let it drop rather than get himself in trouble by mouthing off to the Captain.
- Grey's Anatomy has a good conversation between George and Izzy. After waking up with an alcoholic blackout of the night before, Izzy remembers George cheating on his wife with her, but George doesn't. Later on, George's memory comes back, and he and Izzy share an entire conversation without speaking.
- Harry and Paul skit "Eeny Miney Minie Mole" has two George Smileys (from the 1979 miniseries and the 2011 film) competing to see which one should remain employed by MI5.
Alec Guinness Smiley: Might I suggest a solution? A contest, to see which one of us looks the most disappointed with the world.
Gary Oldman Smiley: Whilst at the same time, suggesting a hinterland of other interests.
- Horatio Hornblower:
- In the second instalment "Mutiny" and "Retribution", many characters exchange significant looks when they cannot talk freely. It's because they are in front of their superiors and one of those is Insane Admiral who loses his ability to control his crew. It heavily overlaps with Meaningful Look, but some of the conveyed messages were rather complex. For example Hornblower signals to 1st Lt Buckland that he shouldn't interfere with crazy Captain Sawyer and that he should carry out his order to arrest all the other lieutenants, him including.
- Their Spanish adversaries and prisoners, Senor and Senora Ortega share a worried look after they were forced to the unconditional surrender. We later find out its meaning. He wanted her to pull the Honey Trap and Heroic Seductress, and she obliged. She pretended she was interested in having sex and killed one stupid Red Shirt, and the Spanish prisoners took over the ship.
- The "telepathic conversations" on How I Met Your Mother. Although we hear what the characters are thinking, you can still get the gist of it just by the expressions alone. They are occasionally subverted when the other doesn't get it.
- In "Bachelor Party", Robin attempts to convey an important message to Lily with facial expressions, and Lily interprets it as a request for a tampon.
- Ted and Stella agree they have to help Stella's sister who was dumped right before her wedding. Ted thinks they agreed on paying for her dinner. Stella thought that the facial dialogue was about taking her wedding venue and getting married instead of them.
- In "Doppelgängers", everyone else is having a telepathic conversation about Ted's hairstyle, and Ted's voiceover says, "What are we talking about? Nachos?"
- Parodied in Jane the Virgin where Jane and Raphael try and stop talking, just try to read each other's facial expressions. Raphael twitches his nose because it itches, and Jane mistakes it for a sign.
- Merlin and Arthur talk in looks a lot, even when they're speaking out loud. Put any of their scenes on mute and you'll get the idea and it will still be almost just as funny.
- This is supposedly what got Peter Tork selected as a member of The Monkees. He didn't speak during his interview, just communicated with over-the-top facial expressions.
- Gibbs' functional mute characterization on NCIS partly comes from Mark Harmon choosing to not say his lines during the show's early seasons and react to his co-stars through facial expressions. This turned Gibbs from being merely a gruff authority figure into someone who famously has no patience for the extraneous.
- Our Miss Brooks: In "Home Cooked Meal", Miss Brooks' facial expressions as Mr. Conklin is about to light a match in a gas filled room...
- In Proof, one flashback shows the Barliss family about to enter the church for Will's funeral. As Len and Sophie are about to go in, Cat is just standing outside, and her anguish and guilt are written all over her face. Len immediately understands that she's suffering too much to be able to face her dead son, and he and Sophie go in without her.
- Stargate SG-1:
- Christopher Judge as Teal'c was the master of unspoken dialogue.
- Parodied in a supposed "flashback" in the episode "200". While he and an invisible O'Neill are walking down a corridor (O'Neill's location is given away by the floating coffee mug he's drinking from), O'Neill makes a comment about being invisible which Teal'c responds to with his usual stare. Since he can't see O'Neill's response, Teal'c remarks after a moment, "I assume I am staring at you stoically."
- Gets a Lampshade Hanging in an earlier episode where Daniel describes, in his normal mile-a-minute delivery, a non-vocal conversation he'd had with Teal'c moments earlier.
- In the Star Trek: The Next Generation episode "Allegiance", Picard and a handful of other random aliens are abducted by aliens for the purpose of study (because they communicate only with telepathy and wish to study other forms of communication). When Picard turns the tables on his captors, they return him to the Enterprise, but before they leave the bridge, Picard and the crew, communicating with only subtle facial expressions, trap the aliens in a forcefield to show them what it feels like to be imprisoned. Picard makes a point of the fact that he and the crew communicated this way.
- Charlie Young does this a lot in The West Wing. Since he's not one of the senior staff and thus not usually a participant in the complex policy discussions, but he is always with the President, his reaction to a lot of situations and crises (petty or dramatic) is done silently.
- Almost every character on White Collar is capable of pulling this trope off. Quite a lot of Neal/Peter and Neal/Mozzie interaction is entirely facial expressions.
- Mulder and Scully of The X-Files are infamous for this ability. Already masters at the Held Gaze and Longing Look, most scenes have an embedded layer of subtext within the facial expressions. It makes their relationship look very intimate and almost make an onlooker feel as though they've walked in on something they shouldn't have.
- According to the writers of Yes, Minister, during filming Paul Eddington would deviate from the script by replacing his lines with an expression. He was so good at this that in later episodes they actually annotated the script with "Paul doesn't have to say this line if he doesn't want to" where they expected this to work. An exceptional example is when he finds out his predecessor, who was about to publish some embarrassing memoirs, has unexpectedly died. The brief worry, then joy, then abrupt attempt to look sad is something to behold.
- The "Weird Al" Yankovic song "Jackson Park Express" is about a man riding the bus who thinks he is having an increasingly detailed and bizarre conversation with the girl in the seat across the aisle from him using only this. It ends when the girl (who probably had no clue what was going on in the guy's head) reaches her stop and gets off the bus.
- Shows up in this strip of Something*Positive.
- Nodwick has apparently gotten so good at this that he can send fairly complex messages to Piffany from a distance based on how he grimaces.
- Used extensively in The Bully's Bully because it's a textless web comic.
- Done twice between Kirby and Dedede in Brawl in the Family.
- A silent, two-person Flat "What", courtesy of Collar 6.
- Avatar: The Last Airbender: For unknown reasons, the mute Freedom Fighter Longshot does this all the time. He's understood by his companions through his eyes and facial expressions, which (somehow) indicate his thoughts and viewpoints on particular subjects. He doesn't talk at all until Jet is killed, and even then, only says less than fifteen words.
- A Season 7 episode of My Little Pony: Friendship Is Magic gives us one such moment, where Maud quietly signals to Starlight with her eyes that they should move on before Pinkie Pie can cause any more trouble, a sentiment that Starlight clearly agrees with.
- Star Wars Rebels: In "Family Reunion and Farewell", because they can't verbally speak to each other due to the circumstances, Ezra and Sabine's last (face to face) conversation goes this way, where she asks him not to go, he apologizes for having to do it and asks her to help him, and she reluctantly accepts. To emphasize it, all dialogue from other characters is muted in favor of the Orchestral Version of their respective leitmotifs.