Three Minutes: A Lengthening movie review (2021)

Three Minutes A Lengthening free movie

Three Minutes: A Lengthening is a wonderful film about filmmaking, and it’s also a quietly devastating memorial for people who have passed away. The film’s name tells you everything you need to know: Stigter examines a three-minute reel of faded 16mm color home movie footage taken in 1938 in the Jewish quarter of Nasielsk, Poland, not just to identify the people shown but also to look at the town, neighborhood, community, and everyday activities that are sometimes neglected.Three Minutes A Lengthening

There are no on-camera interviews, just the voices of individuals who were there, know people who were there, or have knowledge of Poland’s thirties, especially the Jewish experience. Helena Bonham-Carter reads scholarly material that the director and her team learned during the course of the project, but she takes care to attribute what she learnsto specific interviewees. The footage is slowed down, freeze-framed, and zoomed in on. When an interviewee talks about their personal experience with a certain face in a crowd, it’s sometimes slowly run backwards and forwards (creating kind of a pendulum effect) as if they were talking about some important news event. The most important element of any business storytelling is the back-and-forth pendulum. The arc of the back-and-forth pendulum shortens until we settle on the individual and the image freeze-frames, catching a moment in time and holding it.Three Minutes A Lengthening review

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The word “granular” usually refers to a level of detail, and that’s exactly what we mean here. When we compare the colors in clothing between social classes or context, we’re observing clots of film grain under a microscope. We may as well be in a gallery viewing an impressionist piece of art: celluloid blobs instead of paint.

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The historical outcome of this story is widely known. By the end WWII, only 100 Jews remained in the neighborhood after Nazis mass murdered and relocated the others. The last part of the film tackles the deportation of the community in a way that is true to the rest of the story.

The notion of making a film like this has a fundamental good will and generosity baked into it, even if such sentiments were inherent to the project, we’d never know from the way it’s presented. It has been termed a “forensic exercise,” which is laden with connotations from forensic science. The short film, “Three Minutes,” is a touching portrayal of people and things that no longer exist. The respectful and innovative approach to just three minutes of footage gives life, briefly, to community on the cusp of obliteration.

David Kurtz filmed the home movie when he was young, and later on, his grandson Gordon donated it to the U.S. Holocaust Memorial Museum. They made a digital copy of it for people to use when they want to take a closer look at certain footage or individual frames. One of the individuals who saw the Museum’s post online identified her grandfather in a sea of boys.

There are some questions that go unanswered due to a lack of witnesses, the unclear parts of frames, and the condition of the print. Frequently, when a sufficiently simple scenario is presented, the student will simply point at something in the air and ask Google to search for that term. The footage from the rest of the exercise is presented as if we were watching it on a projector screen, just like in a movie theater. The artist’s filmmaking technique allows the audience to feel as though they are really experiencing what is happening, instead of feeling like they are being sold something. The servers are providing the material, not using it.

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In addition, the film is in touch with the regular historians’ work process. Although the overall idea is evident, there are still some details that are unknown. The historian has to accept that they may never figure it out and hope someone else will be able to piece together the missing information. Gordon notices a sign early in the film that has three lines of text, with the middle line being bigger and more readable than the other two. The following are three of the many options that may be available to you. They’re far too tiny, and digital enhancing fails to get a grip on what the words might have meant. The mystery, like others in the film, goes unresolved. Successes often come with failures, and many times we have more failures than successes. “Three Minutes” shows us that storytellers who don’t explore their past fully are missing out on potential treasures.


Bianca Stigter
Bianca Stigter
Helena Bonham Carter(voice)

4.5/5 - Movie Rating!

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