Victoria (II) (2015)
A young Spanish woman who has newly moved to Berlin finds her flirtation with a local guy turn potentially deadly as their night out with his friends reveals a
Director: Sebastian Schipper
Writers: Sebastian Schipper (story), Olivia Neergaard-Holm (story), 1 more credit »
Stars: Laia Costa, Frederick Lau, Franz Rogowski | See full cast and crew »
Storyline
A young Spanish woman who has newly moved to Berlin finds her flirtation with a local guy turn potentially deadly as their night out with his friends reveals a dangerous secret.
User Reviews
Now we all know how long it really takes to shoot a movie!… Just kidding! I can't imagine the amount of work to prepare it and the numerous times they've had to restart from scratch.
I didn't hear about the movie before watching it and had no idea what to expect. To be honest, I'm not really interested in how they did it or what a great feat it is to perform in a single shot. I'm an emotional movie consumer, only interested in the outcome. In painting, literature, music or any art, there's only one good technique: the one you forget.
What an emotional journey! I've never felt so much tension watching a movie! Aligning ten disaster movies in a row wouldn't affect my heart beat as this movie did. And sorry for the one shot concept, but I had to create my own breaks a couple of times to avoid a stroke. This movie does not let you breath one second. Unlike most movies, there's no fictional filter keeping you distant: an exaggerated make-up, unrealistically clean surfaces in film sets, fake rains, ugly digital insets, cameras precisely zooming and panning from impossible points of view, declaimed lines following one another like a metronome, robotic characters who don't stammer and don't drop their cigarette. This fiction is an extremely immersive reality fed by its flows. Life is made of flows: how many times a day can't you remember a word? do you drop something? are you blinded by the opposite car's headlights? The immersion is so intense, that the scenario does not require extraordinary adventures to keep you breathless. I don't care what technique contributes at most to the viewer's empathy: Is it the one-shot? the brilliant improvisation? the highly realistic characters? Or maybe some other secret ingredient no one noticed, like an alchemist's pigment in a painting.
It simply is: dreadfully true, endearing and disturbing.
I can only agree with other reviewers: a new page is written in the history of cinema.
I didn't hear about the movie before watching it and had no idea what to expect. To be honest, I'm not really interested in how they did it or what a great feat it is to perform in a single shot. I'm an emotional movie consumer, only interested in the outcome. In painting, literature, music or any art, there's only one good technique: the one you forget.
What an emotional journey! I've never felt so much tension watching a movie! Aligning ten disaster movies in a row wouldn't affect my heart beat as this movie did. And sorry for the one shot concept, but I had to create my own breaks a couple of times to avoid a stroke. This movie does not let you breath one second. Unlike most movies, there's no fictional filter keeping you distant: an exaggerated make-up, unrealistically clean surfaces in film sets, fake rains, ugly digital insets, cameras precisely zooming and panning from impossible points of view, declaimed lines following one another like a metronome, robotic characters who don't stammer and don't drop their cigarette. This fiction is an extremely immersive reality fed by its flows. Life is made of flows: how many times a day can't you remember a word? do you drop something? are you blinded by the opposite car's headlights? The immersion is so intense, that the scenario does not require extraordinary adventures to keep you breathless. I don't care what technique contributes at most to the viewer's empathy: Is it the one-shot? the brilliant improvisation? the highly realistic characters? Or maybe some other secret ingredient no one noticed, like an alchemist's pigment in a painting.
It simply is: dreadfully true, endearing and disturbing.
I can only agree with other reviewers: a new page is written in the history of cinema.
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