Director Philip Barantini has recast the fashionable trick of the one-shot film, like Birdman or Russian Ark before it, to illuminate more intimate, workaday truths.
When directors decide to journey down the one-take path (either genuinely or edited to appear that way), it’s usually in service of making the theatrical even more theatrical (“Birdman”), the horrifying more unrelenting (“1917”), or the thrills even more thrilling (“Victoria”).
No secret cuts, no secret edits, no Birdman funny business.
The one-take film has grown in popularity over the years, from Oscar winner Birdman and 1917 , to indie thrillers Watch the Sunset and One Shot .
Apparently achieved without the “cheating” evident in (ostensible) one-shot recent sensations Birdman and 1917 — and thus more comparable to Sebastian Schipper’s 140-minute 2015 technical tour-de-force Victoria — this logistically nightmarish affair was, like all the best meals, assembled with the benefit of considerable “prepping.”
Famous examples include Russian Ark , Victoria and Birdman .