‘Adolescence’ Review: Netflix’s Taut One-Shot Legal Thriller Is More Than Its Gimmick

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Perhaps the most telling indication of television’s evolution into a form of cinematic art could be its increasing fascination with the one-shot sequence, a technique known as the oner which has been an integral part of the visual vocabulary employed by film directors for years.

The six-minute long uninterrupted shot featuring Matthew McConaughey was one of the key factors that established the high-quality reputation for the first season of “True Detective.” Similarly, shows like “The Bear” and “Monsters: The Lyle and Erik Menendez Story” have gained significant attention due to entire episodes filmed in a single take. Moreover, Jeon Woo-Sung’s intense Korean thriller “Bargain” elevated this trend by narrating its story across six episodes, each one appearing as if it were a single shot.

In the second installment of Apple’s upcoming satire series, The Studio, titled “The Oner,” Seth Rogen’s character as a studio executive remarks about an intricately designed shot, “The oner represents the pinnacle of cinematic brilliance. It’s a harmonious blend of artistic flair and technical skill.

He’s responding to Ike Barinholtz’s Sal, who contends, “Audiences do not care about this shit.”

Instead of skipping over the unique filming technique in Netflix’s new legal thriller Adolescence, it could be intriguing to explicitly discuss how each episode was captured in one uninterrupted shot, directed by Philip Barantini and filmed by Matthew Lewis.

The manufacturing process of the show “Adolescence” is truly remarkable – though perhaps not entirely unique – and at times even mind-blowing. However, if style overtook substance, the end product would merely be a spectacle rather than a substantial narrative.

Luckily, the camera work effectively enhances a narrative that carries an unnerving relevance to today and portrays its human characters brilliantly, with Stephen Graham, Ashley Walters, Erin Doherty, and breakout star Owen Cooper delivering exceptional performances.

The story opens with detectives Bascombe (played by Walters) and Frank (portrayed by Faye Marsay) conducting a daring raid on the Miller residence during the early hours, apprehending 13-year-old Jamie (Cooper) for a murder. His parents (Graham and Christine Tremarco) and elder sibling (Amélie Pease) look on in bewilderment and shock as the arrest takes place.

In the initial episode, the camera tracks the operation, the ensuing trip to a conveniently located police station, and the early rounds of questioning, as viewers and the Miller family discover the charges levied against Jamie, who vehemently maintains his innocence throughout.

The series “Adolescence” progressively leaps ahead from days to weeks and months, showcasing the investigation of Bascombe and Frank, their interactions with students at Jamie’s school, Jamie’s pre-trial psychological evaluation by Doherty, and the lives of the Miller family. The creators, Graham and Jack Thorne, maintain the central focus on the tragic events rather than any particular character as a hero or villain. While only Graham’s Eddie appears in more than two episodes (with Jamie heard in a third), each episode offers a complete, hour-long narrative arc and a unique impact, thanks to the one-shot method, which was previously employed by Barantini for the restaurant drama “Boiling Point” with Graham as the lead.

In the initial episode, Barantini skillfully creates a tense atmosphere filled with mysterious suspense, mirroring the confusion and longing for clarity that the Miller family experiences. Rather than providing a reassuring break by swiftly moving from arrest to the presentation of evidence and charges, Barantini guides us step-by-step through the tedious processes Jamie undergoes – fingerprinting, intrusive tests, the monotony of an institutional breakfast. This is all part of the procedural ordeal he’s subjected to.

In the second installment, Barantini skillfully creates a noisy atmosphere that often muddles the facts, as detectives traverse the corridors, staircases, and lecture halls of a school. They interact with countless students and faculty, even joining them during a hectic fire evacuation drill. This episode stands out as the most flamboyant among the four, and it’s the one that consistently caught my eye due to its intricate planning and coordination.

In the third installment, Cooper and Doherty engage in a heated verbal battle, playing out an intricate mental chess match within one confined space – their dialogue punctuated by bursts of rage, exposure of emotions, and chilling suspense. Notably absent is the intricate technical finesse displayed in the previous episode, as their scenes are exclusively set within a single room. Despite their impressive chemistry demonstrated in Hulu’s recent series “A Thousand Blows,” unfortunately, they do not share any screen time together in this particular episode.

Finally, the series comes to an end with an intense emotional ride, showcasing the ups and downs of a birthday that offers extraordinary fluctuations and adaptability from Tremarco, Pease, but particularly Graham, who delivers his best performance yet.

The camera work throughout is bold, yet it’s more impressive upon reflection as opposed to immediate visual spectacle. Only the second episode hints at enhanced visual effects (though I’m not completely sure), and the series avoids the common use of quick cuts and masked transitions usually associated with single-take illusions. Instead, I found myself captivated by the intricate choreography and the actors’ consistent performances, especially Doherty and Cooper’s performance in the third hour. Their achievement is truly remarkable when you consider the preparation and mental strength required – a far cry from the usual “How did they manage that?” astonishment.

Although Jamie’s actions, whether they were involved in something or not, are significant yet secondary to broader discussions about masculinity, particularly its toxic and fragile forms, in a world filled with bullying, revenge porn, and influential figures like Andrew Tate. The horror of the murder tends to be overshadowed by the more prevalent horror that is, essentially, growing up. The show, unfortunately, fails to convey genuine empathy towards the victim or adolescent girls’ struggles, a reflection perhaps of societal apathy. However, Fatima Bojang’s powerful and wounded portrayal as the best friend of the victim poignantly captures the pain of this indifference, suggesting that she is not receiving the attention or help she desperately needs.

Instead of relying solely on technical tricks, it’s largely due to its similarity with Bojang’s style that the unrelentingly grim and somber Adolescence manages to steer clear of feeling like an extended episode of Law & Order: Special Victims Unit.

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2025-03-06 17:54