Venice Review: Amos Gitai's Shot-In-One-Take 'Ana Arabia'

If there was one stylistic trend at Venice this year, it was bravura, lengthy shots. The festival kicked off with the twenty-minute opening shot of "Gravity," and the rest of the festival sometimes felt like some kind of who-can-hold-a-shot the longest competition, with Steven Knight's "Locke" and Tsai Ming-Liang's "Stray Dogs" also getting in on the real-time act. But if this competition had a winner, it was undoubtedly Amos Gitai, with his latest film "Ana Arabia." Almost uniquely ("Russian Ark" is the obvious forerunner here), the film is made up of a single take, an unbroken 81-minute Steadicam shot without a single cut. It's a bold and ambitious move for the Cannes and Venice favorite, behind films like "Kadosh," "Kippur," "Promised Land" and "Free Zone,"  but while "Ana Arabia" is well-meaning, its central gimmick ultimately proves to be the only really interesting thing about it. Gitai's camera follows Yael
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