Great stunt, decent film. Ironically, VICTORIA is at its best when flouting the hyper-immediate realism that its single take brings (viz. sequences where Frahm's score drowns out diegetic sound, the opening scene). Also, goes about 30 minutes too long, foregoing the chance to end on a high note. Fun, exhausting.
Film buffs, perhaps unsurprisingly, tend to 'overrate' explicitly self-reflexive films. Although more complex re: acting than BIRDMAN, it suffers from some of the same self-indulgent knowingness and easy potshots at Hollywood.
Also, has everyone agreed to ignore that awful mountain-driving montage?
A lot to like, but the most uneven film I've seen from Assayas.
Stunning and endlessly rewarding even if this were only a formal exercise, but this builds to leave a rather intangible, devestating impression. The film captures the transience of individual moments with heartbreaking sincerity. The mother is upset that her youngest daughter's early scribblings were thrown away until she is reminded that her other children's mementoes are now sitting in a box in the basement. All is ephemeral.
Unjustifiably bloated with musical numbers, some of which follow from each other with no respite. A few of the routines are fun, but I mostly was wishing for a straight adaptation of the play. Audrey Hepburn miscast up until she becomes 'ladylike.' The changed ending is pretty infuriating, undercutting both the mythological source and much of the play's social critique.