The Guardian reviewed the film in 2016 saying, “The film doesn’t flaunt its technical bravado, so you’re never
too distracted by wondering how Schipper and cinematographer Sturla Brandth Grøvlen pulled off their
choreography, turning a nondescript small section of Mitte [a district in Berlin] into a nocturnal playground of
seemingly infinite possibility. But you do become aware of the film’s tricks with duration, as in the gang’s brief
return to the club – in reality lasting just a few minutes, but feeling like a whole tournament of triumphant
revelry. “Real time” in cinema has rarely been so craftily elasticised.”
Based on the other readings and your experience of films/television/video over the last 12 months (inside and
outside of this course):
What elements (formal contexts you have seen or experienced in film/television/video) do you think makes
“real time” feel like “real time” in cinematic time? Refer to Victoria and if you have seen another continuous take
film, tell us about how it relates.
Gant’s article basically tells us that Victoria was crafted for the festival circuit because festivals needed a
younger audience. Between this claim and the claim about films like Pelo Malo being “poverty porn” that
appeals to silver haired festival supporters. Now that you are aware of this, how do you feel about film festivals
and festival films?
General instructions for all discussions:
To contribute to the discussion, make sure you’ve watched the film, read the articles and collected your
thoughts. The content and quality of your discussion post is extremely important. It’s how we engage with
everyone’s insights and connect them to each other’s experiences of the film in this course.