How was the movie Victoria made in 2015

One-take film "Victoria" by Sebastian Schipper : Real time Berlin

It may well be that the “Victoria” theme parties are now taking place everywhere. So just in the blinker motorcycle jacket or in the sun jogging suit or in Victoria's parka and sweater. Then, assuming that the film starts as late as possible, watch “Victoria” for two hours and then go out to party like Victoria's heroes on the Berlin night. Without a bank robbery, of course, there should be a bit of difference between cinema and life.

Or is that just a coke idea of ​​mine, are people much too ready for partying after two hours of twenty “Victoria” in real time - really without editing, a single take, “without cheap tricks or even expensive ones”, like director Sebastian Schipper conjures up? It is quite possible that, blown away by this film, they prefer to go home into the summer night, and maybe better that way. Windows wide open, birds chirping in the courtyard, and some tatutata in the distance.

It's been four months since Sturla Brandth Grøvlen, the Norwegian cameraman from “Victoria”, won the technology prize at the Berlinale, a consolation prize for a film like this, but already totally deserved it for the camera. The man is there for two hours and twenty at all 22 scenes without disturbing, in basements, on roofs of houses, in narrow elevators, cars, apartments and in between again and again on the street and always with an invisible eye. The team shot three run-through takes in three weeks, totaling seven hours, a crazy marathon. The last one then fitted perfectly.

What a choreography!

What an organization, what a choreography, so that it all works out with oversight actors from four thirty at night only for the one small camera! At the Berlinale there was a lot of "Boah ey!" - Bohei about the sporty aspect of the film - yes, as a critic you can't just flip the "Relax, dude!" Switch, yes, you want to be cold and be heartless. But now, months later and not rushing impatiently from festival film to festival film, I saw “Victoria” again at a preview in the midst of breathless spectators. And I'm trapped like her.

So get rid of your reservations. That the cute Spanish girl named Victoria doesn't want to have made any friends in three months in Berlin, which is why she goes out on club night with four guys whose malavita is oozing out of their pores - free. Also a gift that she definitely doesn't play Franz Liszt's almost unplayable Mephisto waltz on the pub piano and consequently cheats at least once the soundtrack, which otherwise celebrates the imperfection of the direct sound as a characteristic of authenticity. Or that in so-called real life, which is what this is supposed to be about, someone like Victoria would barely become an accomplice in a life-threatening attack.

Big mouth, stolen cars and: Victoria

But now, at the latest, come on with the plot. So: Victoria (Laia Costa) leaves a Berlin basement club after her last double vodka and ends up in the funny, down-to-earth, somewhat sluggish Anglo-Berlin sun (Frederick Lau). Plus his three buddies: Boxer (Franz Rogowski), Blinker (Burak Yigit) and Fuß (Max Mauff). It is clear from the start that the boys who seem to be dancing around each other in agreement are not sad kids: big mouth, stolen cars, and boxers have been in jail, jloob'ick immediately. But they have a soul, even rough charm, at least that applies to the sun, which is why that might be something with him and Victoria. But then suddenly they also have a plan.

No, nothing wrong with the sweet girl, so luck at least. But because boxer still owes something to a bad guy - André Hennicke walks into the film like a grotesque ambassador of German television products - a robbery is due, now and immediately. And because, unfortunately, Fuß is totally drunk, Victoria has to drive the getaway car. And because bank robberies in the cinema generally don't end well, this bank robbery also goes the way of all genres and doesn't end well at all.

Shouldn't it now urgently be “attention, spoilers!”, Ey, don't you betray the whole adventure, dude? On the other hand: "Victoria" has already been seen a thousand times at the Berlinale, the trailer is also explicit - and the film itself is at least as exciting when you see it again as it was the first time, albeit different. During the idle time of the first half an hour, you can measure your pulse as you fall in love, especially in the café, where Victoria, since she can stay up straight away, is supposed to work again in the morning for four euros an hour. And the last bad quarter of an hour - the airy post-party film of these Berlin night characters of the 21st century has long since been transformed into a very silenced "Bonnie & Clyde" - is simply great. Pale, beautiful home stretch, pale Berlin morning.

Sebastian Schipper has created a unique adventure

Before the festival, Sebastian Schipper, a recognized expert on couple-boys-meet-a-girl-and-do-something-crazy-films since his Hamburg almost real-time night piece “Absolute Giganten” (1999), wrote his fourth work “ Victoria "called a" fledged, matted street dog ". The foreign body on the red carpet at the Berlinale has become a favorite for the German Film Awards on June 19 in Berlin. And it should go with the devil if he does not turn at least half of his seven nominations into prizes, in addition to the camera and one of the Lolas for the best film, one for the always famous Frederick Lau and the stunning new discovery Laia Costa.

They all stand for the unique adventure of a film that comes closer to the Berlin night world of these years than any before, regardless of genre. And for a truly breathless one: even more penetrating than Gaspar Noé's “Enter the Void” or, most recently, Alejandro González Iñarritus “Birdman”, which on closer inspection only simulated their real-time experiment.

The ride through “Victoria” is no longer bearable due to a few retarding interludes, each ninety-second, in which Nils Oliver Frahm's subtle film music takes the lead. The eyes stay on the characters, but their continued speech is muted, the pure being carried away pauses for a moment. Before the last interlude, Victoria's face becomes blurred and back again, becoming even more violent.

In Berlin at Cinemaxx, Delphi, Hackesche Höfe, International, Kant, Kulturbrauerei, Moviemento, Neues Off, Passage, Union and Yorck

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