Victoria

I probably didn’t get the film’s message, hence the low rating. When I found out it had over 70%, my jaw dropped so low it almost broke my toe. From my point of view, it’s a movie about a stupid girl, who after leaving a nightclub joins four drunk Germans. When they don't gangrape her within the first five minutes, she’s so thrilled that she joins them in a robbery and child kidnapping. The movie would be too short, so the filmmakers shrewdly filled it with pointlessly long scenes in which nothing happens. I don’t see any point in philosophizing about the influence of disco music on the development of characters, so this is the end of my review. (11/21/2016)

Film as a performance and it's up to you how you take the ending. Unlike the others, I am instead convinced that the one-take method here is closely intertwined with the content, which simply wouldn't work without it. The genius loci of early Berlin, where anything goes, plays one of the main roles here; those who have ever drunkenly and drugged their way through the morning big city will particularly appreciate the immediacy of the first half of the film, which otherwise functions as a notoriously overwrought introduction to the narrative and characters. In a clever move, I find that the non-native speakers communicate with each other in broken English, which paradoxically simplifies their communication with the viewer, which is always limited to cutely futile bare sentences and not burdened with superstructure. Which can generally be applied to the whole film. The problem, paradoxically, arises once the plot gets going, when many imbecilic decisions can no longer be excused by adrenaline, alcohol, and drugs, but instead increase in intensity and, thanks to a narrative in real time, we drink in their consequences throughout. The uncomfortable tension that otherwise makes the whole film a veritable festival of viewer discomfort is thus transformed into a relentless facepalm and gnashing of teeth, as the one-take method is now becoming ossified and continues to lack formal attraction. It's only there, and it's only for one take. Nothing more (nothing less). P.S. For a woman who unsuccessfully went to pee at the beginning of the film, Victoria ended up making it through the next two and a half hours just fine. I had always suspected during my school days that girls go to the bathroom partly out of boredom. (02/21/2016)

This is a triumph of form over content. Hats off to the creativity and all the preparations that had to precede making this movie to make it all come together in one coherent continuous shot. Unfortunately, what makes this movie incredibly underwhelming is the behaviour of characters, who make the most stupid decisions possible just to give some direction to the melodrama. Plus, since the movie makes it so the audience is locked in with these idiots for a full one-hundred and forty minutes, the audience is then fully able to feel the effects of both their incomprehensible actions and the unnecessarily overlong running time more intensely. (10/27/2021)

For a concept involving the authentic night-time doings of a few characters in ordinary locations of Berlin, 140 minutes is a lot. The first half of this film drags a bit in exceedingly trivial scenes and dialogue. But what happens later is all the more surprising and gripping, especially if you know nothing at all about the plot. The troubles come in hints, and we suspect and fear them because the protagonist doesn’t deserve them. This is a very well made, emotive and thoroughly intensifying “one-shot” film with good acting performances. (08/28/2022)

The amazing dynamic and confident direction by Sebastian Schipper can sure be felt in this movie. When the film starts with the opening scene in the dance club, I was absolutely satisfied. It’s an exact description of the Berlin club scene including music that fits the situation. It’s a small thing, but I really care about the way electronic music is depicted in movies. The thing is that filmmakers often include illogical stuff in their dance club scenes and in that case any semblance of realism is immediately lost for me. Anyways, as much as I liked the music (not only the electronic music in the club, the whole soundtrack is pretty dope), the protagonist Victoria ruined the whole thing. I mean Laia Costa’s portrayal of the character is pretty believable, but you be the judges of this. Victoria is a young and talented girl who has been working as a waitress in Berlin for a couple of months. She lives day to day, she doesn’t have to worry about work too much, she just wants to have fun. She goes clubbing to this joint where all of the sudden she meets a group of people who at first made me think that they were going to drag her somewhere over to the Berlin Wall, rape her and discard her body on a pile of garbage. I mean some girls can be pretty naïve and dance club girls tend to be the most naïve of them all. But she manages to keep up with them. She enjoys an interesting night with them, finds out a couple of personal things about them – it would have messed me up to find out what she did… well and then they rope her into a robbery that they only suggest indirectly. But since she is a young and bored European chick, she decides to help these guys that she has only known for like three hours. The whole thing is so incredibly naïve that I don’t know where to start. But thanks to the phenomenal direction, I give the flick three stars. I would’ve given four, but only if Victoria wasn’t as dumb as a box of rocks. (01/20/2019)