Review: 'Soft & Quiet' is anything but

by Matt St Clair

Soft & Quiet, the feature directorial debut from Beth de Araújo (a newly minted Gotham Award nominee), is the most anxiety-inducing experience you’ll have watching a movie this year. Taking place over the course of one stressful afternoon, this depiction of a group of like-minded women involved in a harrowing chain of events is bound to leave viewers squirming in various ways. 

When the women first meet up, it seems like a casual get-together. But, as they’re taking out refreshments, group leader Emily (Stefanie Estes) unwraps her pie with a swastika carved in the middle. It's a sudden revelation that this gathering is a meeting for their group called the Daughters for Aryan Unity...

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A long take is a held breath.

by Cláudio Alves

Long takes are a constant subject of fascination for filmmakers and film lovers alike. The technical challenge inherent to them makes many directors salivate at the prospect of showing off their craft. At least, that's what, as an audience member, it sometimes feels like. Though, to characterize the long take as a mere tool of formalistic showmanship would be wrong. Depending on the case, this mechanism can be transformative, capable of bending the audience's perception of time, their attachment to what they're watching and sentimental engagement.

In 1917, Sam Mendes uses the long take as a key to sensorial immersion and ever-tightening tension. Each cut is a blink, a breath, a repositioning of the eye and recalibration of the senses. It's something that's a convention and brings comfort to the viewer. When you take it away, one feels as if the action never stops, like there's no time to breathe or to disengage with the narrative. A long take is a held breath and it can be a gloriously suffocating thing to experience…

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Tweetweek: 1917, Movie Real Estate, and 'The Bad Place'

by Nathaniel R

So we were at the first screening of 1917 yesterday at the DGA theater in NYC and as you may have noticed if you were online, the Oscar pundits and online film press collectively went berzerk for it, immediately declaring it was going to win everything, it was best this and that... even of the decade! 'Nobody's ever done this before' (uhhhhh. people have been doing continuous take movies since at least Hitchcock's Rope in the 1940s and probably before that and one of 'em just won Best Picture five years ago!)  For the record we enjoyed it and it is quite technically impressive... but deep breaths people. "Consider" your opinions before tweeting them out before the credits of the thing you just watched have even stopped rolling!

Much is made in 1917 about the futility of medals and yet my dumb ass still wants one for noticing each and every invisible cut in this “one-take” movie

— Kyle Buchanan (@kylebuchanan) November 24, 2019

I'm not going to share the generically breathless super-hypey tweets (they all sound pretty much the same) but more 1917 reactions are after the jump, plus The Bad Place, A Beautiful Day in the Neighborhood, Dick Tracy, Cats, and Best Real Estate Envy movies. So read on for more curated tweets...

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News: BIFA, Carrie Fisher, Creed

Gothamist Good Morning America tries to interview Carrie Fisher. She is not as cooperative as they're used to. Hilarious. She mostly wants to talk about her dog Gary. Also...
Carrie Fisher's Dog is on twitter
/Film best and worst of Ryan Gosling on SNL
Variety Shailene Woodley, to whom I am mostly allergic, will unfortunately co-star with Nicole Kidman in Big Little Lies
Boy Culture Warhol superstar Holly Woodlawn has died at 69
i09 in case you can't wait until Christmas, they've released 8 clips from The Hateful Eight to tide you over
Pajiba 8 sets of celebrity dopplegangers

Today's Watch
Director Ryan Coogler talks about Creed's amazing continuous shot boxing match. So gutsy that this bravura bit comes so early in the movie and he still manages to top it later on.

List Mania
Vulture David Edelstein's top ten list is quite adventurous as it zigzags from Room to Chi-Raq but his top 10 and best performances list is.... Steve Carell The Big Short as #2 of the year (say whaaaa?)

Saoirse Ronan has arrived. Finally...
The Moet British Independent Film Awards ceremony happened yesterday during all the critics award madness stateside. The winner by a significant margin was Alex Garland's haunting sci-fi triangle Ex Machina. The prizes...

British Independent Film: Ex Machina
Director: Alex Garland, Ex Machina
Actress: Saiorse Ronan, Brooklyn
Actor: Tom Hardy, Legend
Supporting Actress: Olivia Colman, The Lobster
Supporting Actor: Brendan Gleeson, Suffragette
Screenplay: Alex Garland, Ex Machina
Documentary: Dark Horse: The Incredible True Story of Dream Alliance
International Independent Film: Room
Debut Director: Stephen Fingleton, The Survivalist
Producer of the Year: Paul Katis & Andrew De Lotbiniere, Kajaki: The True Story
Discovery Award: Orion: The Man Who Would Be King
Achievement in Craft: Andrew Whitehurst for VFX, Ex Machina
Short Film: Edmond
Promising Newcomer: Abigail Hardingham, Nina Forever

Kind of a surprise to see Ex Machina dominate so thoroughly though we do love it here at The Film Experience

Victoria's single take is incredible, but it's not "better" than Birdman's

Sebastian here, not at TIFF, but now taking your donations to get me there next year...

Frederick Lau and Laia Costa in VICTORIA

Ever since its premiere at the Berlinale earlier this year, Sebastian Schipper's Victoria has been compared to Alejandro González Iñárritu's Birdman. The US poster even leads with a quote from Variety's Guy Lodge: "Fly away, Birdman — there’s a new one-shot wonder in town."

Victoria was shot in one take, which lead many to compare it (usually favorable) to the Best Picture winner. It's an odd comparison to make, though, since Iñárritu's film wasn't shot in one take, and never pretended to be, either. (The fact that Douglas Crise and Stephen Mirrione weren't even nominated for Best Editing is one of the stranger oversights in The Academy's recent history.)

Both films share in their production an elaborate, fairly - though not entirely - unique effort with a high degree of difficulty to pull off. But so does Boyhood. Or Mad Max: Fury Road, for that matter. That doesn't mean they're doing the same thing, and it certainly doesn't mean that one of them is "better" at it than the others.

As tempting as it may be for some to use Victoria's impressive technical achievement to get in one more jab at the much (and in this writer's view unfairly) maligned Oscar winner, it really doesn't do either of them justice.

VICTORIA had its North American premiere at TIFF this week and is being rolled out to US theaters next month, starting with New York and Los Angeles on October 10. Full release schedule here.