![\"Hollywood](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/09\/Hollywood-Cinema-Movies-Film-General-Far-Out-Magazine-1140x855.jpg\")
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(Credits: Far Out \/ Pedro-Marroquin)<\/p>\n
Tue 9 September 2025 11:00, UK <\/p>\n
The art of film<\/a> editing is often woefully underappreciated for something that has the ability to make or break the final reveal. <\/p>\n Imagine a piece of slow cinema like Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, with its lengthy, uninterrupted takes substituted for some Edgar Wright-style quick cuts: A close-up of Dielman\u2019s hands peeling the potatoes, quickly cut to the boredom on her face, then back to the chopping board. The whiplash would make for a completely different film, and I\u2019d wager not nearly as good or faithful to the crux of the story.<\/p>\n Some films sit us within one take, no cuts to keep us entertained and alert, just an unedited scene playing out in its languid glory. Turn the coin and it\u2019s movies like Sergei Eisenstein\u2019s Strike, which pioneered an extremely choppy, fast-paced style to mimic the chaos and urgency of the violent suppression of a strike in 1925. Meanwhile, the jump cut is Jean-Luc Godard<\/a>\u2018s bedfellow, whose French New Wave films were a landmark in experimental editing, furthering its active narrative engagement to challenge perceptions.<\/p>\n Filmmakers have played around with editing techniques since, working with split-screen storytelling, flashbacks, quick cuts, cross-cutting and everything in between and a mix of it all to varying degrees of success. Long takes are a unique form in and of themselves, leaving less work for the editor, but by no means less impact on the viewer. <\/p>\n The recent Netflix sensation Adolescence allowed audiences to follow the arrest and interrogation of a teenage boy in real time, with one shot per episode capturing the confusion, anger, pain, and violence of the story. By using hour-long uncut shots, the show delivered raw performances, accompanied by a sense of realism only made possible by a lack of cinematic artificiality, like we\u2019re following the characters as a background figure rather than a passive viewer at home. <\/p>\n The longest one-take movie in film history<\/p>\n