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New Escapist Column! On the Use of Long Takes in “1917”…

I published a new In the Frame piece at Escapist Magazine a little while ago, looking at the use of long takes within 1917.

The long take is an interesting cinematic technique. Most obviously, it’s a dazzling display of craft and technical proficiency. It’s a power move that exists largely so a director can flex their muscles. However, it also serves a compelling paradoxical purpose. The longer that a director holds a take, the more that the audience drifts away from reality. Cuts allow the audience to ground themselves, to process what they have seen. Removing cuts forces the audience to hold a single long gaze. In 1917, Sam Mendes uses that gaze to collapse time and space. In doing so, he captures some of the insanity of war.

You can read the piece here, or click the picture below.

Non-Review Review: Prisoners

Prisoners is very much a game of two halves. Feeling like two separate films grafted together, Prisoners feels at once like a psychological exploration of American masculinity and also a far more conventional serial killer film. Indeed, had director Denis Villeneuve and writer Aaron Guzikowski decided to cut suddenly to black two-thirds of the way through Prisoners, we’d have a frustrating but much more cohesive atmospheric drama.

Instead, it seems like the duo conspired to surgically attach the last act from a far more conventional thriller on to their robust framework. The result is intriguing, but disappointing – the conventional paint-by-numbers final third diminishing a lot of the richness to be found in the first section of the film.

Somebody is about to get Jack(man)ed...

Somebody is about to get Jack(man)ed…

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