Available on netflix VICTORIA, a german thriller, though much of the dialogue is english. Impressive camera work - the entire picture done in one take and takes place in "real time" - but I wonder why they made the movie without cuts, it wasn't any stronger because it didn't have them. Cuts are what makes cinema cinema, dammit!
The acting is quire good and the writer gives nice details to the characters. A great scene at the 30 min mark is followed by a big shift in the story and the movie goes in an unexpected direction, for me anyway. Ultimately the story is boilerplate but I think it's a pretty good movie, I'll probably watch it again.
will watch again too. I had in mind what you said about cuts the first time through and at first thought it was too relentless but by the time she plays the piano I was entranced. The jumpy camera work created a kind of cut when it would cut back to her face. It built a relentless tension in to the timeline that really hooked me. Storytelling is weird primitive stuff and at its best you can't escape; huddled, as it were, around a fire waiting to find out what happens to the beautiful young girl: the face that sunk a thousand ships. She lives in a time of her own and a hunderd feet of film spool out and leave you breathless. Continuity addicts continuity addicts: every frame is an invisble cut. It must be love. Thanks for the tip, Steve.
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Available on netflix VICTORIA, a german thriller, though much of the dialogue is english. Impressive camera work - the entire picture done in one take and takes place in "real time" - but I wonder why they made the movie without cuts, it wasn't any stronger because it didn't have them. Cuts are what makes cinema cinema, dammit!
The acting is quire good and the writer gives nice details to the characters. A great scene at the 30 min mark is followed by a big shift in the story and the movie goes in an unexpected direction, for me anyway. Ultimately the story is boilerplate but I think it's a pretty good movie, I'll probably watch it again.
- steve 3-13-2016 12:51 am
will watch again too. I had in mind what you said about cuts the first time through and at first thought it was too relentless but by the time she plays the piano I was entranced. The jumpy camera work created a kind of cut when it would cut back to her face. It built a relentless tension in to the timeline that really hooked me. Storytelling is weird primitive stuff and at its best you can't escape; huddled, as it were, around a fire waiting to find out what happens to the beautiful young girl: the face that sunk a thousand ships. She lives in a time of her own and a hunderd feet of film spool out and leave you breathless. Continuity addicts continuity addicts: every frame is an invisble cut. It must be love. Thanks for the tip, Steve.
- 🚬 (guest) 4-19-2016 11:15 am [add a comment]