Cinema offers a vast array of varieties and forms, characterized by different considerations such as story, style, and location, among other considerations.
Among these types, there exists a distinct and challenging category known as “one-location films.” These films present a real test for directors, writers, and actors, as they must maintain the viewer’s attention for approximately two hours within a single setting, without allowing boredom or loss of interest to set in. This is in no way an easy feat.
In one-location films, the dialogue, actor, and camera play pivotal roles, although not all these elements are present in every film of this type. Some one-location films, such as “struggle for survival films” like 127 Hours, may have minimal dialogue. All these elements need a skillful director who can use them effectively.
However, in most cases, dialogue takes center stage, serving as the driving force of the narrative, shaping the film’s pace, and comprising its beginning, complexity, and climax.
The actors’ performance is crucial in one-location films, as they remain on screen from the beginning to the end, disregarding the limitations of the physical location. They use every aspect of their craft, including facial expressions, body language, movement, and even their tone of voice, to convey the character’s experiences and effectively deliver the written dialogues.
Through the lens of the camera, the audience gains insight into the distinct features and boundaries of the singular location. The camera captures wide shots that monitor the interactions and movements of the characters, while close-up shots allow us to observe the nuanced expressions on their faces.
A still from My Dinner with Andre (1981)
With two chairs, a table, and two actors portraying contrasting personalities, French director Louis Malle crafted his masterpiece My Dinner with Andre (1981). Over nearly two hours, we witness a spontaneous conversation between two friends within the confines of a restaurant. We never leave the table nor encounter any other characters, save for a brief appearance by the waiter. One friend embodies a spiritual perspective, while the other leans towards pragmatism and practicality. This disparity in their personalities and intellectual backgrounds ignites a captivating conversation, seamlessly weaving together dialogues exploring theatre, art, life, human relationships, thought, and philosophy. The printed dialogues pulsate with a distinctive spontaneity and humor, blending these profound themes into one of cinema’s most beautiful written exchanges. Perhaps the film’s authenticity and genuineness stem from the fact that the actors themselves wrote the dialogues, even appearing under their real names: Andre Gregory and Wallace Shawn.
A still from Rear Window (1954)
The discussion of one-location films wouldn’t be complete without mentioning Alfred Hitchcock. Throughout his career, he directed several such films, perhaps the most notable being Rear Window (1954), which Some consider to be the pinnacle of his entire career. This masterpiece showcases Hitchcock’s genius at its finest, transforming a single room into a vibrant tapestry of detail and captivating stories. The film follows James Stewart in the role of Jeff, a photojournalist confined to a wheelchair in his apartment due to a leg injury. With long hours spent alone, boredom and curiosity drive Jeff to observe his neighbors through the windows of the apartment building through the lens of his binoculars, becoming an unwitting spectator to the lives unfolding behind those windows. As viewers, we experience the events through Jeff’s perspective. Hitchcock employs the camera to precisely convey what Jeff sees, using wide shots when he views with his naked eye and close-ups when he uses binoculars. This masterful technique subtly compels us to observe, analyze, and think alongside Jeff, even if unconsciously. Jeff soon stumbles upon signs and clues suggesting a possible murder in one of the opposite apartments. He confides in his girlfriend and his maid, who visit him occasionally, seeking their assistance in verifying his suspicions. This sets the stage for Hitchcock’s signature creative playground, where he orchestrates suspense and thrills until the film’s climax. Rear Window stands as a cinematic triumph, overflowing with stories and details. Its layered narrative invites multiple interpretations and analyses, all born from the confines of a single room, a man’s chair, and a pair of binoculars.
Hitchcock was one of the directors who had many one-location films, and there is also Polanski, who made three such films.
We put what is perhaps seen as the most famous movie among them, Carnage (2011), into discussion.
A still from Carnage (2011)
One might be surprised to read the title of the film, and then discover it to be a comedy-drama film entirely set within a single apartment. But the film lives up to its name as the events progress and plot unfolds.
The story begins seemingly simple, with a fight between two children in a schoolyard escalating into a meeting between their parents in one of their apartments to discuss and resolve the incident.
However, the film’s brilliance lies not in its formal elements like camerawork or editing, but in the power of its dialogue and the exceptional performances of its four star-studded cast.
The conversation starts with civility, but as it progresses, deeper issues and hidden conflicts emerge. The veneer of friendly discussion crumbles, revealing clashing ideologies, philosophies, and even personal disagreements between the husband and wife on each side. Throughout the film, masks gradually fall away, exposing the true nature and inner thoughts of each character, contrasting starkly with their initial facades.
Perhaps what draws the attention of the viewer is the director’s masterful control and pacing. He expertly navigates the ebb and flow of the dialogue, allowing revelations and conflicts to unfold naturally. Philosophical insights are woven seamlessly into the characters’ words, delivered with the spontaneity of ordinary people, free from pretension and artifice.
A still from 12 Angry Men
For many cinephiles, the pinnacle of one-location films rests in Sidney Lumet’s masterpiece, 12 Angry Men, a timeless classic immortalized in cinema history. This film, similarly, confined to a single room, follows the deliberations of a jury tasked with deciding the fate of a young man accused of murder. Lumet masterfully weaves together powerful dialogue, exceptional performances, and evocative camerawork to create a captivating and immersive atmosphere. The story begins with eleven members of the jury convinced of the accused young man’s guilt, while one man, portrayed by Henry Fonda, believes in his innocence. This initial setup sets the stage for a journey filled with arguments, attempts at persuasion, revelations, emotions, and simmering anger. As the film unfolds, we discover that its essence delves far deeper than simply proving or disproving a young man’s guilt. The narrative explores profound concepts like certainty, doubt, truth, and the nature of illusion. One of the film’s greatest dialogues unfolds the crime before our eyes, and it is meticulously narrated and depicted in vivid detail.
In this single location, Lumet’s genius direction in taking advantage of every possible element to contribute to the compelling portrayal of this complex case, to not let the viewer miss any single moment throughout the duration of the film.
A still from Swan Song
Among Saudi one-location films, the short Swan Song (2019) stands out. Directed and written by Hana Al-Omair, based on a Chekhov play, the film stars Osama Al-Qass. Remarkably, the entire film is presented in a single, uninterrupted 17-minute shot, focusing solely on a single character: a theatrical actor reflecting on his dreams and memories with theatrical flair. The film’s inclination towards theater is not unexpected, given that the protagonist is a theatrical actor. In fact, the film presents his identity primarily through his connection to the theater. The character remains unnamed until the end of the film, and the only setting depicted is the stage itself. Despite the limited setting, the camera work is exquisite. We don’t see the stage from the audience’s perspective; instead, the camera moves freely around the actor, capturing both him and the intricate details of the stage. This unique approach beautifully blends the energy of cinema with the magic of theater.
These are just a few examples of the many important and remarkable films within this distinctive cinematic genre. Confined to single locations, these films transport us to vast worlds and inspire us to think and contemplate.
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