Victoria opens with strobe lights, club music, and bathroom graffiti. The first few minutes of the film feel like a particularly intoxicating blend of A Night at the Roxbury and Gaspar Noé’s Enter the Void. Victoria, a young Spanish girl played by Laia Costa, dances her way through a crowd and is quickly harassed by several “real Berlin” guys. This is when the film becomes frustrating to watch.
Despite their reprehensible, arguably predatory moments early in the film, the “real Berlin” guys—primarily Sonne, Boxer, and Blinker—induct Victoria into their close-knit, Trainspotting-style group. Sonne and Victoria begin to develop a relationship, and all seems well in this hazy late-night version of Berlin—until Boxer needs a favor. Then this one-shot film becomes a blur of guns, lights, and muffled dialogue.
Like a dark, more visceral version of Whit Stillman’s The Last Days of Disco, Victoria’s story questions the necessity of maturity. Though, as a character, Victoria has strength and courage, she possesses a sort of self-aware naïveté, a seemingly conscious willingness to allow the forces around her to guide her actions. The fact that this film is a single continuous take enhances the idea that Victoria’s life is one steady stream of pressures and obligations—she never has a moment to reflect. In this way, Victoria is more relatable than many films: there are no cuts, no blackouts, no second attempts. The audience can analyze how the ugly minutiae of every moment impacts Victoria’s spirit. Continue reading