This article is presented by Quibi. Ah, the long take. In a form defined by the "edit," that invisible/visible mode of switching vantage points rapidly, subconsciously/consciously reminding us what we're watching isn't real, the long take sneaks in the back of our brains and says, "Yeah, but it kind of is, though." If there are any edits in one of these unbroken pieces of cinematographic magic tricks, they're obscured; all the better to present the sudden illusion that what we're watching is a chunk of unfettered reality (when in reality, it's very fettered …

Long takes are a staple of filmic language that, when employed correctly, can both dazzle and enrich. They are virtuoso feats of technical derring-do, mounted and mastered by technicians and craftsman working at the top of their respective game to choreograph a beautiful, eye-popping moment. But it’s not enough to be technologically astounding. The best long, unbroken takes, are the ones that draw us deeper into the story, reveal something new about the characters, or get information across with an economy of dialogue or unnecessary exposition. The long take that combines form and function are truly awe-…

One gigantic factor that made the World War I drama so challenging was the age-old problem of maintaining continuity.