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The British TV drama Adolescence, directed by Philip Barantini and shot by cinematographer Matthew Lewis, boldly takes on the challenge of the one-shot format—a cinematic feat that demands precision, endurance, and technological finesse. At the heart of this immersive storytelling lies a technological hero: the Dji Ronin 4D, paired with a Cooke SP3 32mm lens. Together, they formed the creative and technical backbone of this visually seamless production. As the camera glides through space with unrelenting energy, Adolescence unfolds in real-time, following the intense, often chaotic lives of its characters. The production not only tested the limits of performance and blocking but also showcased how the Ronin 4D, an all-in-one gimbal and camera system, has evolved into one of the most important tools for one-shot filmmaking today.

BTS of Adolescence. Dio Ronin 4D and Cooke SP3 32mm lens BTS of Adolescence. Dio Ronin 4D and Cooke SP3 32mm lens...

If you loved the intense, immersive experience of Netflix’s Adolescence, where the camera follows the characters without cutting away, you’re in for a treat. Some filmmakers have taken on the daunting challenge of crafting an entire movie in a single, unbroken shot, creating a unique sense of intimacy and urgency. Achieving a one-shot film is no small feat—it demands meticulous planning, exhaustive rehearsals, and absolute coordination between the cast and crew. Directors and cinematographers often spend months strategizing every movement, ensuring that the choreography of the camera, actors, and environment flows seamlessly. When done right, this technique blurs the line between fiction and reality, pulling viewers deeper into the narrative and making every second count. Here are some of the most impressive one-shot movies that push the boundaries of filmmaking.

1917 (2019), Director: Sam Mendes

1917 (2019) is one of the most talked-about single-shot movies, directed by Sam Mendes. Although it cleverly uses hidden cuts,...

Nickel Boys is an example of what's possible within the filmmaking medium. The story, based on the Pulitzer Prize-winning novel The Nickel Boys, is grounded in the historic Dozier School, a devastatingly abusive reform school that operated in the Jim Crow south. The subject matter is already impactful, to say the least. Director RaMell Ross leaned on his background in photography and documentary filmmaking to find truly innovative ways to bring audiences into this horrifying reality.

We asked him about what led to the very specific and bold choices, like the use of long unbroken takes or 'oners,' the choice to shoot in the 4:3 aspect ratio, to film the entire story from a character's point of view, and on and on. Ross explained:

"If it's always full of intent, it seems to be justifiable, even if it doesn't work out to be something that feels incredible. The point of view [shots], the oners,...

When director Max Winkler first read the script for “Grotesquerie” Episode 5, he knew he wanted to film most of the episode using one continuous shot. The problem was getting everyone else on board.

“I just kept lying to everybody, ‘We can do this.’ I was like, ‘1,000,000% we can do this,’ ” Winkler told TheWrap. Throughout the entire process, Winkler was reminded of one of his heroes, Marcelo Bielsa, manager of the Uruguay national team, who famously never had a Plan B other than to do Plan A better. That’s exactly the mindset Winkler brought to “Red Haze.”

“In my head, I was like, ‘Oh my god, are you really going to get fired over this? Are you really going to burn your way out of Hollywood on this idea?’ ” Winkler said. “But we did it. I’m really proud of everyone involved.”

It’s not difficult to understand Winkler’s panic over “Red Haze.

What would you consider the best film franchise of all time? Despite the objective metrics for success -– box office, critical consensus, awards and quantifiable impact -– this is a surprisingly subjective question, and the answer you give may say more about yourself than anything else. You might go to bat for genre-defining classics like the "Alien" franchise or "Scream" movies, or highlight childhood favorites for your generation, like "Harry Potter" or "Indiana Jones." Franchises surrounded by big mythology (on screen and off), like "Star Wars," often earn greatest-of-all-time status for fans, while arthouse lovers may pick something less familiar to American audiences, like Satyajit Ray's The Apu Trilogy.

It's a question with either no right answers or many, depending on how you look at it, but the folks at aggregate site Metacritic recently decided to answer it for themselves once and for all by using their well-established system...

Distribution veteran Wendy Lidell will depart Kino Lorber as SVP of theatrical acquisitions and distribution at the end of June after eight years to pursue a new, undisclosed, chapter.

Kino Lorber chairman and CEO Richard Lorber made the announcement on Friday and hailed Lidell as “the rarest amalgam of smart cinephile and canny business executive”.

Kino Lorber chief revenue officer Lisa Schwartz will oversee theatrical distribution and acquisitions in the interim and continue to report to Klmg president Ed Carroll.

Lidell joined the company in 2016. During her tenure she shepherded three documentaries to Oscar nominations – Gianfranco Rosi’s Fire At Sea,...

Exclusive: Kino Lorber SVP of Theatrical Acquisitions & Distribution Wendy Lidell will depart the company at the end of June following a great eight year run at the indie distributor.

The company’s Chief Revenue Officer Lisa Schwartz will oversee theatrical distribution and acquisitions in the interim and will continue to report to President Ed Carroll. Reporting to Schwartz will be SVP Marketing and Communications Nicholas Kemp, VP Press and Publicity Kate Patterson, VP Theatrical Distribution & Repertory Acquisitions George Schmalz, and Director Theatrical Distribution Maxwell Wolkin.

Schwartz and Carroll, former top executives at AMC Networks, joined Kino Lorber in early 2023.

Lidell has been at Kino Lorber since 2016, overseeing all theatrical acquisitions and distribution efforts and shepherding three documentaries to Oscar nominations – Gianfranco Rosi’s Fire at Sea, Talal Derki’s Of Fathers and Sons most recently Kaouther Ben Hania’s decorated Four Daughters.

Other theatrical releases on her watch include Long Day’s Journey Into Night,...

Launched last year by Wes Anderson’s producing partners at Indian Paintbrush, Galerie has emerged as a well-curated film club publishing unique selections of films from artists with their personal annotations. With past lists from the likes of James Gray, Ed Lachman, Mike Mills, Karyn Kusama, Ethan Hawke, and more, today we’re pleased to exclusively share a sneak peek from the lists of two celebrated Chilean filmmakers, Pablo Larraín and Sebastián Lelio, which have recently landed on the site.

Both filmmakers are currently working on their latest projects: Larraín is helming the Angelina Jolie-led Maria Callas drama, while Lelio is handling the musical The Wave, inspired by Chile’s “feminist May” movement in 2018. While in post-production on the projects, they’ve shared their curated collections.

The Spencer and El Conde director features Apichatpong Weerasethakul’s Cemetery of Splendor and Joshua Oppenheimer’s The Act of Killing on his list,...

Making a film in under 25 days is a monumental feat for a filmmaker. However, with clever budgeting, creativity, and resourcefulness from a talented cast and crew, films can be made in a few days and even in a few hours.

Victoria (2015) and Russian Ark (2002)  were filmed in a single continuous shot, pushing the boundaries of a well-thought-out planned production.

Many of these come from first-time independent filmmakers, including The Blair Witch Project (1998); Paranormal Activity ( 2007), Clerks (1994); Mind, Body & Soul (2024); El Mariachi (1992); Get Out (2017); Napoleon Dynamite (2004) and Fruitvale Station (2013). These movies stand as testaments to the power of resourceful directing, proving that films can be made quickly and effectively on any budget.

Take a look back at movies that were made in under 23 days that were released at the box office.

Films like Goodfellas, Atonement, and Children of Men utilize long takes, where the camera runs without cuts, to create impactful and memorable scenes. These long take sequences, such as Henry and Karen entering the Copacabana nightclub in Goodfellas or the devastating scene in Children of Men, not only impress with their technical execution but also serve as turning points in the respective films. Other notable examples of long takes include the opening scene in The Player, the entire film Rope consisting of 10 long takes, and the 17-minute long take in Gravity's opening scene, all of which display the skill and creativity of filmmakers in capturing continuous shots.

One of the most impressive techniques filmmakers use in movies is the long take, and a few films are in contention for the longest continuous shot in a movie. A long take, or a "oner," is a single shot with no cuts,...

Most lists of the greatest long takes don’t deviate: Goodfellas, Russian Ark, Touch of Evil, Rope–you know the drill. In a perfect world those rankings face a major change with the restoration and rerelease of Shinji Somai’s P.P. Rider, a film comprising some of the boldest, strongest, plain craziest orchestrations of camera and space anybody’s ever achieved. Unlike many movies stitching together multiple shots through “invisible” cuts, it’s also driven by a dense, compelling narrative from Leonard “Brother of Paul” Schrader, boasting a screenplay co-written by his wife, Chieko.

Needless to say Cinema Guild’s forthcoming release, starting September 6 at New York’s IFC Center, should be on radars whether the film’s fresh or you know an iffy Mkv file well. We’re proud to debut a new trailer, plus the cover for their 24-page zine featuring two newly translated texts: a 2011 essay...

Filming a long, complicated scene in a single take isn’t a task most directors are up to. After all, it can take hours or even days of rehearsing just to get ten unedited minutes of screen time right. Getting a whole feature-length movie done in just one shot, if one can even imagine such a feat, is even harder. But, even though most films allegedly shot in one take are actually edited to achieve that look, there are still some filmmakers that have managed to make it. However, there aren’t many actual unedited single-shot films out there, and the first one to actually do it without any kind of editing is, in fact, a lot more recent than most people expect it to be. Released in 2002, Russian Ark is the first entirely unedited film to be shot in one single, continuous take.

Russian director Alexander Zolotukhin has sky-high ambitions for “Brother in Every Inch,” which has its world premiere Feb. 13 in the Berlin Film Festival’s competitive Encounters section.

Zolotukhin’s sophomore feature is the story of twin brothers whose inseparable bond complicates their efforts to fulfill their shared dream of becoming air force pilots. The film is produced by Andrey Sigle and Mary Nazari for Proline Film. Paris-based Loco Films is repping the pic internationally.

The son of an air force pilot, Zolotukhin was granted rare access to a Russian military base to shoot “Brother in Every Inch,” filming real-life fighter planes and casting pilots and cadets as extras to bring a documentary-style verité to his film.

Pic was lensed by veteran Russian cinematographer Andrey Naydenov, who worked as Dp on Andrei Konchalovsky’s Venice prize-winner “Dear Comrades!” Naydenov collaborated with military engineers to construct special camera cases that would allow...

Loco Films has taken world sales rights on Alexander Zolotukhin’s “Brother in Every Inch” ahead of its world premiere in the Berlin Film Festival’s competitive Encounters section. The Paris-based sales agent has also acquired “The Land of Sasha,” the feature debut of Julia Trofimova, which plays in the festival’s Generation 14plus strand.

Zolotukhin’s sophomore feature is the story of twin brothers whose inseparable bond complicates their efforts to fulfill their shared dream of becoming military pilots. The film is produced by Andrey Sigle and Mary Nazari for Proline Film.

The son of a pilot, Zolotukhin was granted rare access to a working military base to shoot “Brother in Every Inch.” Acclaimed cinematographer Andrey Naydenov (“Dear Comrades!”) worked with military engineers to construct special camera cases that would allow him to capture high-octane flight scenes.

“I wanted to show the process of being a pilot as realistically as possible,...

Writer/director/actor Jim Cummings joins hosts Josh Olson and Joe Dante to discuss a few of his favorite movies.

Show Notes: Movies Referenced In This Episode

Thunder Road short film (2016)

Thunder Road (2018)

The Wolf Of Snow Hollow (2020)

The Beta Test (2021)

Jack Reacher (2012)

The ’Burbs (1989) – Ti West’s trailer commentary, Burbs-Mania from Tfh

Big (1988)

War Of The Worlds (2005) – Glenn Erickson’s 4K Blu-ray review

Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairings

Children Of Men (2006)

Y Tu Mama Tambien (2002)

Russian Ark (2002) – Brian Trenchard-Smith’s trailer commentary

The Beach (2000)

Titanic (1997)

28 Days Later (2003)

Victoria (2015) – Eduardo Rodriguez’s trailer commentary

Krisha (2015)

Dogtooth (2009)

Inside Out (2015)

Toy Story (1995)

Finding Nemo (2003)

Wall-e (2008)

Up (2009)

Rosemary’s Baby (1968) – Mark Pellington’s trailer commentary, Oren Peli’s trailer commentary

False Positive (2021)

Repulsion (1965) – Michael Lehman’s trailer commentary

Seduced And Abandoned (1964)

Divorce Italian Style (1961)

La Dolce Vita (1960) – Dan Ireland’s trailer commentary

My Beautiful Girl, Mari (2002)

Speed Racer...

Savvy viewers of bleak Eastern European festival fare will get a sense early on in “Unclenching the Fists” why “Beanpole” director Kantemir Balagov championed this Russian slice of neorealism. Indeed, Kira Kovalenko’s Cannes Un Certain Regard-winning sophomore feature trades in that same kind of brutal austerity, as if the movie was conceived and shot from inside the bowels of a landfill. But at the same time, .

That young woman is Ada, living in a withering industrial town in the agriculturally anemic North Ossetia region of Russia with her father and two brothers. From the outset, her relationship with her father, Zaur (Alik Karaev), is established as one of parasitic codependence — he doesn’t like the perfume she’s wearing, or for her hair to be too long, or for her to be too far out of sight. She, meanwhile, abides his curfews and gets into a nervous state whenever...

Rising Russian director Vladimir Bitokov’s sophomore effort, “Mama, I’m Home,” bows this week in the Horizons sidebar of the Venice Film Festival. Following on the heels of his 2018 Karlovy Vary premiere “Deep Rivers,” it’s produced by two-time Academy Award nominee Alexander Rodnyansky and Sergey Melkumov. Wild Bunch Intl. is handling world sales.

“Mama, I’m Home” is the story of a bus driver (Kseniya Rappoport) living on the outskirts of a provincial Russian town, where she awaits the return of her only son, who’s fighting for a private military contractor in Syria. When she’s told that he’s been killed in action, she refuses to believe it and begins a grueling public battle to fight for his return. But when all efforts to silence her prove fruitless, a mysterious young man (Yuri Borisov) arrives on her doorstep.

Bitokov told Variety that he was already developing...

It’s been a long journey for Barry Jenkins, from his humble debut “Medicine for Melancholy” in 2008 to eventual Oscar winner “Moonlight” eight years later and the sprawling miniseries adaptation “The Underground Railroad” earlier this year. All along, though, there has been one constant for him: The Telluride Film Festival. Jenkins first attended the festival as a film student almost 20 years ago and eventually became a volunteer, then rose through the programming ranks to oversee the shorts program, a gig he maintained even after his career took off.

Now, he’s leveled up again in Telluride stature by serving as the festival’s guest director.

Over the course of this year’s five-day event, Jenkins will introduce six screenings of films handpicked by a director best known for blending his passionate cinephilia with underrepresented voices. His program does that, too: While Jenkins’ favorite director Claire Denis is represented with her debut “Chocolat,...

Wild Bunch International has acquired world sales rights to Vladimir Bitokov’s “Mama, I’m Home,” which will have its world premiere next month in the Horizons section of the Venice Film Festival, Variety can reveal.

Bitokov’s second feature, which follows his 2018 Karlovy Vary premiere “Deep Rivers,” is a Non-Stop Production and Ar Content film produced by two-time Academy Award nominee Alexander Rodnyansky and Sergey Melkumov. It was written by Maria Izyumova and stars Kseniya Rappoport, Yura Borisov, Ekaterina Shumakova, Alexander Gorchilin, Natalia Pavlenkova, Darren Kushkhov, Mazhit Zhanguzarov and Valeriy Balkizov.

“Mama, I’m Home” is the story of a bus driver, Tonya, who lives in a village on the outskirts of Nalchik, a modest city in the Russian republic of Kabardino-Balkaria. Together with her daughter, Tonya eagerly awaits the return of her only son, who is fighting for a private military contractor in Syria. When Tonya is told...

“Unclenching The Fists,” a Russian drama directed by Kira Kovalenko, won the top prize in the Un Certain Regard sidebar competition at Cannes. And shortly after the awards were announced, the UK streamer and distributor Mubi acquired all North American rights to the film, an individual with knowledge told TheWrap.

Mubi has been on a buying spree out of the festival — earlier in the week, the distributor acquired another Un Certain Regard prize winner, “Great Freedom,” as well as “Lingui, The Sacred Bonds” from the main competition. Mubi also picked up the UK, Ireland, Latin America and India rights to “Unclenching the Fists.”

Awards for the Un Certain Regard were announced Friday in a ceremony at the Debussy Theatre at Cannes.

Andrea Arnold, who was also at the festival behind her documentary “Cow,” was president of the Un Certain Regard jury. She led a jury that included director Mounia Meddour,...

The festival is one of the last physical film events to take place in 2020.

Running a socially-distanced film festival in one of the most populous cities in the world was never going to be straightforward.

Add in the rumour of a royal procession to celebrate the transfer of 22 3,000-year-old mummies to the new National Museum of Egyptian Civilisation, that would bring city centre traffic to a standstill, and the organisers of the Cairo International Film Festival (Ciff) were facing logistical challenges on another scale entirely.

In the end, the procession of mummies was delayed until after the festival closes today...

The film is about a charismatic Austrian figure who saved Polaroid from oblivion.

Austria- based documentary specialist Autlook Film Sales has acquired international rights, excluding Germany and Austria, to An Impossible Project, the new feature documentary directed by Jens Meurer, the award-winning producer of films including Russian Ark, Black Book and Rush to The Last Station.

An Impossible Project made its world premiere in the Deep Focus section of the International Film Festival Rotterdam [Iffr] this January.

The film is about Florian ‘Doc’ Kaps, an Austrian biologist credited with rescuing Polaroid film from oblivion.

“His parents always told Doc he must...

Filming a long, extended take in a movie is one of the best ways to win some acclaim and show off a bit of your directorial prowess. But it’s often so complex and so ambitious that still only a handful of directors have ever dared make their movie to appear as though it was filmed in one continuous, unbroken shot. Sam Mendes is the latest mad man to attempt the feat for his World War I epic “1917,” and boy did he nail it. Here are some other films that helped pave the way for him.

“Rope” (1948)

The master of suspense Alfred Hitchcock was the first to attempt a single-take feature film, taking on a radical experiment with a big budget and A-list stars that included James Stewart. His movie “Rope” was inspired by a play by Patrick Hamilton and concerned a pair of men who murdered someone, hid his...

In the first shot of this groundbreaking World War I film, two young British soldiers — lance corporals Schofield (George MacKay) and Blake (Dean-Charles Chapman) — are caught napping in a field. It’s the last time they, or we in the audience, will be able to catch a breath. For the next two hours, director Sam Mendes and cinematographer Roger Deakins will stalk these young men in what seems like one continuous take, tagging along as they charge through enemy territory on a mission to save lives. Their orders from General...

First things first: Bi Gan’s “Long Day’s Journey Into Night” has nothing to do with the Eugene O’Neil play of the same title, but that’s not the only misdirection in play. The Chinese director’s sophomore effort is a fascinating application of filmmaking innovation toward expressionistic ends. It follows up on the promise of his 40-minute long take in “Kaili Blues” with an even longer one, in 3D, set within the confines of a dream sequence that plays like a total revelation. Bi’s lyrical neo-noir begins with the poetic tale of a man returning to his hometown and searching for a long-lost love, then finds him putting his 3D glasses on at a movie theater — a cue for the audience to follow suit, as the movie launches into a staggering 55-minute long take shot entirely in 3D.

That gimmick might sound neat on paper, but...

Variety reports that Rob Williams has joined Wellspring Media as manager of acquisitions, rounding out the buying team that is led by Marie Therese Guirgis. Williams left his theatrical marketing post at DreamWorks' New York office to join the arthouse distributor, which is currently basking in the success of Alexander Sokurov's Russian Ark. Also on Wellspring's 2003 calendar is Bahman Ghobadi's Marooned in Iraq, Karim Ainouz's Madame Sata and Delphine Gleize's Carnages.

NEW YORK -- Marking the first acquisition at the 40th annual New York Film Festival, Wellspring Media has acquired domestic distribution rights to French filmmaker Claire Denis' Friday Night (Vendredi Soir), with plans for a spring theatrical rollout. The project is--appropriately--scheduled to make its bow at the NYFF Friday night. Denis' previous credits include the 1999 NYFF entry Beau Travail, and last year's controversial Vincent Gallo-starrer Trouble Every Day. Acquired from Paris-based Pathe International, the erotic Night follows a woman (Valerie Lemercier) who plans to have dinner with friends before moving in with her lover. Forgetting the city is in the midst of a transit strike, she finds herself trapped in a massive traffic jam and is approached by a stranger (Vincent Lindon) who unexpectedly changes her life. The project was produced by Bruno Pesery through Arena Films, and was adapted by Emanuelle Bernheim from her own novel. The indie distribution banner Wellspring--formerly known as Winstar--recently acquired domestic rights to This Is Not a Love Song by British director Bille Eltringham (HR 9/24). The company's Russian Ark is also screening at the NYFF (HR 8/20).