Victoria Movie Review (Spoiler Free)

Victoria is a German 138-minute production taken in one shot. With an incredible cast and improvised dialogue, it reaches depths of realism I have not seen before. 

Genre: Crime / Drama / Thriller

Director: Sebastian Schipper

Cast: Laia Costa, Frederick Lau, Franz Rogowski, Max Mauff, Burak Yigit & André Hennicke

Runtime: 138 min.

US Release: 24 November 2015

UK Release: 29 April 2016

German Release: 11 June 2015

Although I am half German, I’m not really a big fan of German cinema. It’s not due to the acting; we have incredibly talented actors such as Christoph Waltz, Daniel Brühl, Moritz Bleibtreu, Karoline Herfurth, and Franka Potente. My issue lies more with the cinematography and overall film aesthetic, which often make German movies look cheaper, as if they were made for television.

That doesn’t mean I dislike all German movies. On the contrary, there are quite a few homegrown productions I adore, such as Fack Ju Göhte, Der Untergang, and Goodbye Lenin!. Victoria is something entirely different, a one-of-a-kind experience unlike anything I’ve seen before, and possibly my new favourite German production. Everything about it, from its unbroken 140-minute shot to its minimal written script, feels unique.

The plot revolves around a young Spanish lady named Victoria, who has moved to Berlin to make a living. She speaks only limited German and works in a café, where she also seems to live. After a night out clubbing, Victoria meets four Berlin locals: Sonne, Boxer, Blinker, and Fuss. Sonne takes an interest in her and convinces her to join them for the rest of the night.

As Sonne and Victoria start to get to know each other, the night takes a sudden turn for the worse. What begins as a fun, spontaneous evening quickly turns into a dangerous cat-and-mouse game. Victoria soon discovers that the streets of Berlin hide dark and dangerous secrets.

If I’m honest, the story itself isn’t particularly believable, and there are a few moments that verge on the laughable, but all of this is easily forgiven thanks to the realistic performances of the cast. It’s not easy to craft a dramatic thriller that unfolds in one continuous take, so the script had to be pared down to its bare essentials, leaving room for plenty of improvisation.

That improvisation, however, works brilliantly. The dialogue feels authentic and unforced, with naturally awkward moments between Sonne and Victoria, just as you’d expect when a guy is trying to charm a girl. The camaraderie among the four men also comes across as genuine.

Still, there are moments when I couldn’t quite understand the choices made by the two main characters. Sonne and Victoria both had multiple chances to walk away from the escalating situation, yet they chose to stay and follow their friends down an increasingly dark path. That’s where my biggest issue with Victoria lies.

The male characters are mostly likeable, but they’re still small-time criminals who don’t seem to care much about society. All insist that they aren’t bad people, merely victims of poor decisions, but it’s hard to believe them when they go on to make more foolish choices minutes later.

That said, the actors are what truly make this film shine. You can feel their tension and stress, knowing that one mistake could ruin the entire take. That energy mirrors the intensity of their characters’ situation, producing raw, genuine emotion on screen.

Laia Costa is phenomenal as Victoria. Her breakdowns, rants, and outbursts of anger feel completely real. Frederick Lau is also excellent, though slightly overshadowed by Costa’s powerhouse performance. He’s endearing as the man who falls in love at first sight and tries to convince Victoria to spend the night with him.

The cinematography is where Victoria truly excels. Shot entirely in one continuous take with no cuts, it pulls the audience into the experience, making one feel as if they’re right there with them on their chaotic night through Berlin. While director Sebastian Schipper isn’t the first to attempt a one-shot film, he’s arguably the first to make it both believable and emotionally gripping.

There’s no artificial lighting or secondary camera angles. What you see are real colours, natural lighting, and genuine emotion: the raw pulse of a city at night. This authenticity makes the film feel grounded and immediate.

Musically, Victoria is quite restrained. Instead of relying on a heavy score, it leans on the emotions of its cast to set the tone. The piano scene, in particular, is hauntingly beautiful, powered by raw feeling and highlighting Costa’s hidden musical talent, even though she insists she can’t play!

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Verdict: Victoria was recommended to me by a good friend, and it completely took me by surprise. The genuine, raw emotion displayed by the actors, combined with the incredible one-shot cinematography, turns this experimental film into a truly intense cinematic experience. It has minor flaws, but overall, it’s a beautifully chaotic piece of art. I give Victoria a 9.0 out of 10.

Have you seen Victoria yet? If so, where? Did you enjoy it or find the one-take approach too much? If this movie is playing near you, I implore you to go see it. Give it a chance, it’s absolutely worth your time. As always, thank you for reading!