Movies

Using one-shots, ‘Adolescence’ effectively portrays a powerful story

BBG News

The British Netflix series “Adolescence,” debuting on Thursday, may seem like it’s about typical teenage antics based on its title, but it’s quite different. Instead, it explores growing up in a society dominated by social media and survival of the fittest mentality, which older generations often misunderstand. The narrative also delves into discussions about masculinity and the impact of teenagers’ self-perception. Despite being inspired by real-world incidents involving knife attacks, this series steers clear of sensationalism or preachy lectures.

As a movie enthusiast, I’d rephrase it like this: In four distinct episodes, the series unfolds my tale as a 13-year-old boy named Jamie Miller, who finds himself under suspicion for a tragic murder of a classmate. The first episode follows my chaotic early morning arrest by a SWAT team, with my father Eddie (Stephen Graham), mother Manda (Christine Tremarco), and sister Lisa (Amelie Pease) following closely behind. I’m interrogated, with Eddie staying by my side as a “appropriate adult.” The second episode jumps two days ahead, where detectives Luke Bascombe (Ashley Walters) and Misha Frank (Faye Marsay) are seen grilling students and teachers at my school. The third episode takes place several months later, featuring a conversation between me and a psychologist, Briony Ariston (Erin Doherty), while in custody. The final episode, set months after that, chronicles a difficult day for my family, with me still behind bars but yet to stand trial. (I’m only heard on the phone during this episode.)

Television

A well-known British actor is responsible for both writing and acting in Netflix’s freshly released miniseries. This production was filmed using long, uninterrupted takes to depict the repercussions of a heinous crime committed by a child.

Each episode features a continuous, uninterrupted take; this seems to be the result of skillful post-production editing, as reshooting a scene that falters at the 44th minute of a 45-minute episode would not be feasible for budget reasons nor for the actors. However, the footage never gives off a digital manipulation vibe. The term “oner,” which refers to a long tracking shot, has a rich history. For instance, there’s Orson Welles’ opening sequence in “Touch of Evil” and Robert Altman’s homage to it in “The Player”. Notably, the “Copa shot” in “Goodfellas” is also part of this tradition. However, Alfred Hitchcock’s 1948 film “Rope” and Alejandro González Iñárritu’s “Birdman” from 66 years later are exceptional examples, as they are entire films shot in a single take (though clever techniques were used to hide where the film magazines were changed).

In simpler terms, the technique used in certain scenes, like the long, uninterrupted shot in “Review” from “The Bear,” or the continuous camera movement throughout “Adolescence,” can be so effective because they keep your focus on both what’s happening and how it’s being presented. This dual attention can sometimes distract you from noticing the technical aspects, allowing you to fully immerse yourself in the narrative. At first, I didn’t realize that “Review” was a single shot; instead, I just felt the chaos and crowdedness. Similarly, the continuous movement in “Adolescence” wasn’t immediately apparent, but as it continued through the police raid, the police station, and the institutional setting, the purpose of this technique became clearer and more intriguing.

The narrative is emphasized effectively by not cutting the scenes, which leaves the audience feeling immersed within the characters’ world, much like they are trapped alongside them. In episode 4, centered around the Miller family in their community, it seems as though they’re attempting to evade the show’s watchful eye. The intricate dance between camera and actors is noteworthy if you consider it, skillfully maneuvering through crowds, corridors, and public spaces with an effortless grace that defies explanation. Lengthy, continuous shots also grant the exceptional cast ample opportunity to delve into their characters and the moment at hand, a privilege typically unavailable in episodic film production. While it can occasionally veer towards the dramatic — given that the series was written by Graham, who collaborated with playwright and screenwriter Jack Thorne (“Toxic Town”) — this is often more supportive of rather than detracting from the authenticity of the story. For instance, the third episode, predominantly featuring a two-person conversation between Jamie and the psychologist, has a theatrical quality to it. However, in most instances, it reinforces rather than undermines the sense of reality.

Despite its connections to crime, law enforcement, and court proceedings – featuring a raid, interrogation, detective work, and a chase scene – “Adolescence” deviates from typical police or legal procedurals. Instead, it delves into processes, offering an insightful look at how individuals are absorbed into the system, revealing its mundanity and the intense emotions it aims to suppress. However, at its core, this series is more about family dynamics, introspection, and particularly the bond between fathers and sons. Even though it may not resolve in a conventional manner, it culminates in a novelistic impact by the end.

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2025-03-12 22:01

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