PVC-1

PVC-1 is one of the most influential films i've seen all year. You can't take your eyes of the screen for one second. The brilliant camera work and directing, is complimented by outstanding acting and a sound script. This is a movie not to be missed. It succeeds in pulling you into a true story that deserves such a telling. If only every film in Hollywood had a film maker who could do justice in such a gripping fashion.

If you haven't seen this film yet, you're missing out!! Trust me you won't be disappointed!

GO SEE P.V.C-1!!

It's been a few years since I've seen this film, but I'll add a few words.

From a technical perspective the film was incredible for me as I remembered it was filmed in a single take with one camera. That is stage-theatre discipline right there.

I liked the general idea of the plot, but the pacing was agonizingly slow. This did help to achieve some incredible tension as the film progressed. I recommend screening this flick once for the experience; but this really isn't the kind of film you'll find yourself wanting to revisit.

A single shot, a real time film on location about an assault, a ransom demand, bomb deactivating and desperation should have been nothing else than a breathtaking piece with its audacity. P.V.C.-1, the FIPRESCI award winner of the International Competition, is indeed breathtaking. Given the information that P.V.C.–1 takes place in a rural area in Colombia —where the political situation is critical— and the film is based on an actual event, the tension automatically increases. It is a brilliant directorial debut.

The outstanding work of the steady cam operator — by the director Spiros Stathoulopoulos himself — makes the audience become eyewitnesses to the tragicomic tale, seeing the helplessness of the authorities dealing with a cruel crime. We witness a poor farmer's family being slowly victimized by the harsh third world reality.

The originality of the idea and style transform the event into a genuine thriller. The panic- stricken family contacts the local military authorities and makes an appointment to meet the unit that might dismantle the PVC tube device from the mother's neck at the crossroads. They are not sure if it is a real bomb or a sick joke.

The use of real time and the camera's movement like the human eye as if turning our heads from one point to another, as if changing positions, creates a psychological effect. We feel as nervous as a person on location. Time passes, it gets darker and we get impatient.

P.V.C.-1 succeeds in creating the suspense that most thrillers, horror and action films fail to. It heartily involves us.

Without any artificial lighting, without any close ups, without any cuts, with only little dialogue, with amateurish acting and with some bitter, dark humor derived from the absurdity of the whole event, P.V.C.-1 reaches the level of high profile film-making.

Alfred Hitchcock was one of the earliest filmmakers to experiment with single shot storytelling--that is, forsaking the conventional tools of cinema: cuts, edits, time lapse & multiple cameras. In his 1948 masterpiece "Rope", he tells the story of a murder and the slow unravelling of the murderer in real-time, using only around 10 cuts (which were unavoidable due to film cameras being limited to 10-minute magazines). Most critics called the film "experimental", but the technique remains, to this day, one of the most suspenseful (and certainly difficult) ways of telling a story. The audience is brought into a real-time drama, like Orson Welles' "War of the Worlds" radio broadcast, or perhaps a CNN broadcast of the 9/11 disaster. Real-time events remind us that we also dwell in the same world as the drama we are watching. And a capable director can make us feel like we're in the drama itself.

With this approach, there is no room for error; like a stage play, everyone has to be spot on. But "PVC-1" is no stage play. Unlike the minimalistic "Rope" which takes place entirely within 2 rooms, and unlike the carefully orchestrated "Russian Ark" (another single-shot film) which takes place in the rooms of the Hermitage Museum, "PVC-1" takes us across literally miles of scenery, never giving us the claustrophobic feeling of "Rope" but, perhaps more chilling, it gives us the feeling of having nowhere to run from a diabolical device that could end your life at any second. This is no tight, close-quartered, darkly-lit thriller like most. Here, scenes are wide open, unafraid to show the majesty of nature (a rural Columbian mountain village) contrasted starkly against ones mortality.

The story is very simple: in the first 10 minutes, a woman gets a PVC collar bomb glued around her neck. For the next 80 minutes we follow her plight as she & her family try to get help. No zany plot twists are necessary, no mysterious whodunnits are required. Plain & simple, this film conveys the feeling of facing an untimely death.

Director/writer/camera operator Spiros Stathoulopoulos brings us this emotionally gripping story based on the true events that happened to 53-year-old farmer Elvia Cortés on May 15, 2000. Don't google it until after you see the movie, lest the ending be ruined for you. Even so, you might be shocked to see how little information there is on the incident, and some of it inaccurate, such as blaming FARC, a militant group of Marxist revolutionaries. As this film shows, it was no grandiose terrorist plot. We see in the first 10 minutes that it was a case of common criminal violence over a petty 15 million pesos ($7000). Again, no elaborate spy stories or conspiracy theories are required; Stathoulopoulos is showing us a simple crime and its not- so-simple effect on people. This is storytelling stripped to the bone, and it works.

Even though there are tons of amateur "raw footage" thrillers flooding the movie world, there is nothing amateur about "PVC-1". Don't expect some shaky-cam "Blair Witch" nonsense designed to beat your mind into submission. The cinematography here is smooth and deliberate, and every camera movement for 90 minutes is carefully planned in order to keep the story & themes moving forward. I know I said that this film is raw & simple, but it still touches on some deep thoughts. In particular, it makes us wonder, what is the role of faith & religion during terrible times? Other moments rely on excellent silent acting to awaken the philosopher in all of us, like the scene when the policeman is standing alone in an abandoned building, his mind racing like a hamster wheel while, outside, we see traffic continue, business as usual. There are many such poetic moments in "PVC-1", and for what it aims to accomplish, this film is picture perfect. I haven't given out a perfect 10 since I saw Orson Welles' "The Trial", but this film truly deserves it.

I'm a working actor actor in Los Angeles and being involved in film and theatre since the age of 7. This last week I was fortunate enough to view a piece of cinematic history called PVC-1.

I watched the movie at the LA Greek festival and I found myself in awe. Not only the director had the ability to shoot the entire movie in a continuous shot of 87 min but in those 87 min he had the ability to capture the audience's heart. With subtle movements of the camera he was able to express raw and electrifying emotions.

As a friend of mine described it with tears in his eyes after we were leaving the auditorium:" I haven't felt so human in years". There is something glorifying in achieving catharsis through a movie, something that many theoreticians believe it's only achievable in the theatre or opera. But Mr. Stathoulopoulos did it. And when i heard him speak about his film later that day i understood how he was able to do it.

It wasn't his superb knowledge of technical matters or breathtaking ability of steady cam usage, but the simple fact that he cares about his fellow humans. With a mixture of humility and the self confidence possessed only by those who know that they are destined to succeed Mr.Stathoulopoulos explained the inspirational force behind PVC-1.

Im not a critic and i never had the intention of being one, but i've being watching movies since i can remember. Fortunately i was raised on Fellini, Visconti and Kurosava and i can say with confidence that all three of them would have generously applauded PVC- 1.

Thanks once more to the director and artists involved in the production. it was an experience i will cherish for the rest of my life.