The long-shot is a filmmaking technique that has found itself back in vogue in the past few years. Knowing what one even is would normally be the kind of technicality confined to the likes of film-student GeekDom. The use of an extended take across a series of locations which would normally be divided by post-production cuts though is a rare example of a directorial styling which has crossed over to mainstream consciousness. Pioneered by Alfred Hitchcock’s nine-take The Rope, the likes of Martin Scorsese and Gaspar Noe have directed iconic sequences in the form – but it was Alejandro Gonzalez Inarritu’s 2014 project Birdman which really brought the technique back to the fore (with contribution from Cary Joji Fuknunaga’s infamous one-take massacre which capped off Episode 4 of HBO drama True Detective in the same year). Sebastian Shipper’s 138 minute Victoria makes those examples look showy by comparison. Though it ran the normal risk that its style may act as crutch for an otherwise unremarkable picture, this German thriller transpired to be one of the least reliant on its technical prowess: and the novelty which probably got the viewers’ bums on seats in the first place took a backseat to a completely immersive narrative .