A long, uninterrupted film sequence can sometimes deliver the simple message that this movie means business. It conveys aesthetic ambition. And for me at least, this was important when it came to Joe Wright’s Atonement, which was made in 2007 when Keira Knightley was associated with schmaltzy romance movies.
Its promotion made it look less serious than it was, and it announced this seriousness when it turned from a little love story (which is fine) into a historical saga focusing on a few characters. The long take in this film, showing James McAvoy’s character’s arrival at the beach at Dunkirk, is found to be distracting by some, but on the contrary, I found it the first real immersive moment of the film.
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