Review: VICTORIA, The Year's Most Immersive Film

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Review: VICTORIA, The Year's Most Immersive Film

"You just had to be there."

In a post-FOMO (fear of missing out) age this phrase is tantamount to death. "You just had to be there." It's what I said to ScreenAnarchy Editor Ben Umstead as we walked out of the Los Angeles Film Festival back in June, reeling from the kinetic German film Victoria, which won a Silver Bear at this year's Berlinale. "You just had to be there" That's the phrase that encapsulates inside jokes between best friends, parties with Lindsay Lohan, and yes, even this film. While uttering this phrase does enliven your aura with a hue of the elite, does it also rob us of the challenge of transforming an ephemeral experience like watching a film into just words?

"You just had to be there". For days after seeing it, this was the best review I could muster for Victoria. The film's ingenious merging of content and form may be to blame: a young Spanish woman's relentlessly long night on the streets of Berlin is told in one uninterrupted shot, two and one-half hours in length. It's like a night on a drug you've never tried. Constantly you feel one step behind Victoria as she moves from the underground nightclub to the dark streets of Berlin to the back of a bicycle on which she precariously balances. But now as the drug wears off and my eyes start to get clear, my tongue unties, I can finally paint a picture of what I feel is 2015's most immersive film.   
   
As the film opens we hear the deep percussive electronic music colliding against the walls of a dark dank club in Berlin. Almost imperceptible in the blinding white backlight is our protagonist, Victoria (Laia Costa), dancing like a woman who's finally free. Of what? We don't know, but before we can even ask she's off the dance floor and into the bar smiling and preening, looking for a shot of Schnapps. "Are you from Sweden?" She asks the bartender hopefully. "No." He responds.  And it's in that moment that Victoria's loneliness flashes across her face. A melancholy that not even a shot can cure.

The beat bumps on and so does the camera never taking it's eyes off Victoria for fear of losing her in the crowd. As she starts to leave she bumps into Sonnie (Frederick Lau), a drunk yet affable "true Berliner" who meets her gaze as he's being forced out of the club. "Come with me" he says "It's my friend's birthday" he says "You won't want to miss this" he implies. Again the camera stays on Victoria whose every fiber seems to vibrate the refrain of R. Kelly's 1994 classic, Bump N Grind, her mind is telling her no but her body is telling her yes. She takes his hand; and with that we embark on a journey through the streets of Berlin that feels two parts Breathless, one part Run Lola Run.

victoria_poster.jpgThose films may seem like strange bedfellows but therein lies the genius of director Sebastian Schipper (funny enough, a bit actor in Run Lola Run), who with Victoria has figured out how to marry the disparate elements that make those films unique to create the best poem about lust at first sight, Millennial exceptionalism and escapism, and FOMO (fear of missing out). None of this would be possible without his stunning cinematographer Sturla B. Grøvlen who makes the mundane elegiac and the cinematic theatrical. As a child of the theatre, this is the first time I've seen a film that's given me the same visceral thrill as the stage. The feeling that anything could happen, at any time, with no one there to stop it.
   
Moreover, this isn't just theatre, it's marathon theatre. As Victoria, Costa displays a Tibetan monk's tranquility within the film's escalating chaos, while bringing nuance to the quieter moments.

There's a moment in the third act where I turned to the person next to me and said, "Are you even ALLOWED to make an actress work this hard?" It is this collaboration between Costa, Schipper and Grøvlen that truly dazzles. How was their work so in sync? How much was trust in the other's work, how much was indebted to rehearsal, to faith... how much was dumb luck? 

With Victoria Schipper and co. have dropped a nuke onto the stage of international cinema, daring the rest of the world to come ask them "How is that possible?" I'm sure they'd probably say, "You just had to be there."


Review originally published during the Los Angeles Film Festival in June 2015. The film opens in select theaters in the U.S. on Friday, October 9, via Adopt Films.

Victoria Official Trailer from Adopt Films on Vimeo.

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Frederick LauGermanyLaia CostaSebastian Schipper

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AleksOctober 8, 2015 5:17 PM

Sounds like my favourite cinematic technique has finally been nailed in feature length.
Birdman can suck Victoria's dick.

curtvileOctober 8, 2015 6:41 PM

Sorry, but no. I saw this few weeks ago at HIFF. The high concept is great, sadly plot is totally unbelievable and only few sequences come alive. And it honestly would be great if there were like say 5 seconds of actually focused film.

That said, the creators are talented. Truly talented. In a few years without any stupid gimmicks they will reign. But only if they stop the gimmick using and do an actual film. With characters, script and henceforth.
This is quite interesting failure, a grand student project. And a pain in feature lenght.

marshy00October 8, 2015 8:56 PM

Saw this back in March and it is probably still my favourite film of the year so far. The performances are excellent, the central budding romance utterly believable and the single shot technique works incredibly well, building to suffocating levels of tension. Amazing work.

Ard VijnOctober 9, 2015 5:37 AM

What? VICTORIA's twist is the same as THE CRYING GAME's?
(ducks and runs...)

wagnerfilmOctober 9, 2015 7:06 PM

What impressed me about this was the amazing technical feat of getting it all in a single shot that incorporated multiple dramatic scenes and locations, without the whole "one take" thing calling attention to itself as a stylistic gimmick. I don't actually think the narrative bears TOO close scrutiny (Victoria herself goes from ditzy, naive party girl to take-charge-and-get-shit-done way too quickly), but while you're watching, it's certainly an intense and immersive experience.

Dave BaxterOctober 15, 2015 6:06 PM

I have to disagree. They set up Victoria's looong history of discipline and dedication with her piano playing / backstory scene, where she reveals how she trained for 7 hours a day every day for her entire life up until relatively recently. Her partying ways (and demeanor) were a part of her trying to lose herself and run from her disappointment of having been rejected by the music elite after all her effort. If anything, her take charge self was her true self. Her partying self was just the desperate flailing of an intensely A-type personality needing the release, which is also part of what had her so easily go along with the risky / violent elements of the plot when they come into play. I thought it was set up and the character molded pitch perfectly.

wagnerfilmOctober 15, 2015 6:47 PM

I hadn't considered that take on it. Thanks.

curtvileOctober 16, 2015 4:32 AM

Nope. knowing some real-life A-type personalities the story still does not hold water. Yes they put it there to make victoria more sympathetic for audience.
It still failed. It is technically great piece on it's one take, but only comes alive when they practice the job and car stalling.
Very predictable and narrative falls apart at any seam.

marshy00October 16, 2015 10:30 AM

You couldn't be more wrong. The piano scene in the cafe makes the movie, and it is glorious.

Dave BaxterOctober 16, 2015 11:43 AM

Nope. Believe it or not, knowing a-types like Victoria is pretty common and not exclusive to yourself and I say it works beautifully, for the reasons I've already posted. Feel free to add absolutely anything besides suppot-free declarative statements, but until you do, your comments remain predictable and their narratives fall apart at any seam.

curtvileOctober 19, 2015 6:41 AM

It only makes it even more unbelievable and less working. This was an interesting failure, technically quite beyond their years but if this is future of film then film is dead. Out of dozen movies seen in HIFF this and icelandic Paris of the North were only letdowns in that there was not a single personality that seemed even remotely attached to any known reality.
They both tried and Victoria almost achieved it, but this scene was very unsubtle and cheap attempt to make the characters somehow relatable.
Glad you felt differently, I felt forcefed and that they did not trust audience nor characters enough.