Leave The Camera Running / Live-Action Films

• One of the hallmarks of Yasujiro Ozu, who would cut between scenes and between cameras but largely eschewed camera movement. In his last film An Autumn Afternoon the camera never moves, so if there's no conversation, like in the scene where the barmaid contemplates her drunken father or the last scene where a melancholy Shuhei sits down in his living room, the result is a long static shot.
• Birdemic has ludicrous amounts of this, on top of everything else that makes this movie what it is. The first scene (not the title sequence, mind) is literally just four minutes of the protagonist driving his car around town from a dashboard view.
• Ida consists mostly of a series of long static shots in which the camera never moves. The most dramatic one is Wanda's suicide. The scene opens with the camera pointing at a window. After a long interval Wanda walks across the frame. More time ticks by. Wanda re-enters the frame, and jumps out the window. More time ticks by, before the film finally cuts away. The camera never moves.
• Ju-Rei pads out its 75-minute running time by stretching some of its suspense scenes out waaaaaaaaay too long. One single, uninterrupted shot of a girl cowering under a blanket runs for 1 minute and 53 seconds.
• 2001: A Space Odyssey features a very slow pacing, with many very long shots, often of space and astronauts moving very slowly. And that's not even considering Jupiter and Beyond the Infinite.
• Andy Warhol did entire films like this, intentionally, including Sleep (five hours of Warhol's lover John Giorno sleeping), Blow Job (half an hour of shots of the facial expressions of a man receiving oral sex from a prostitute) and Taylor Mead's Ass (take a guess - allegedly, this was inspired by a snipe made by a critic about Warhol and Mead's oeuvre). The longest of these was Empire, which was just the Empire State building shot in one night, going on for eight hours. When asked why he made such a ridiculous film, Warhol replied, "To see time go by". Perhaps even crazier was that only six and a half hours were shot but were shown at fewer frames to make it even longer. Amazingly, Empire has been selected for preservation by the National Film Registry.
• Done to great effect in Aguirre, the Wrath of God.
• British Public Information Film The Finishing Line (about Train safety) features a particularly long shot where an entire class of children march into a train tunnel. At the end of the scene, the camera keeps running for about ten seconds, filming the now-empty tunnel.
• A trademark of Michael Haneke:
  • Both versions of Funny Games, feature a shot after the son is killed in which both parents lie on the ground in mute horror for several minutes. Through much of it, there is absolutely no sound or movement.
  • A couple of scenes in Code Unknown drag on with little to no action taking place like the ploughing scene at the farm land where the tractor leaves the frame but the camera keeps shooting the empty field for another 35 seconds.
  • Many shots in Caché, most notably the videos sent to the main character showing nothing more than the exterior of his house for long periods of time. Other choice shots include three minutes of random kids swimming laps and the final scene of two characters talking without audible dialog.
  • Lots of scenes his 2012 movie Amour follow this trope.
• Hunger, based on the 1981 Irish hunger strikes features long shots of walls, corridors, hands, etc. being washed.
• Many films that received the Mystery Science Theater 3000 treatment:
  • Escape 2000. The original film begins with governmental mooks imploring residents to "Leave the Bronx!" They said it so many times, and for so damned long, however, that alone it's a Leave The Camera Running and with Mike and the Bots riffing it becomes an Overly Long Gag.
  • Lost Continent features unbearably long shots of the main characters simply climbing up a mountain. Since absolutely nothing is going on, Joel and the robots often simply repeat, "Rock climbing..." to each other.
  • Hercules Against the Moon Men. One word: saaaaaandstormmm.
  • The Starfighters had endless, endless scenes of planes refueling. The scenes were so long, Mike and the Bots started riffing on the fact that they did every conceivable joke about mid-air refueling.
  • Fire Maidens of Outer Space features lengthy shot of, just to name a few: An airplane landing; a car driving out of town to a distant observatory; people standing around staring at a clock, awaiting a rocket launch; one scene leaves the camera running for so long after the dialog stops that the actors all look expectantly at the camera!
  • Colossus and the Headhunters features a brief moment where the camera lingers on Colossus steering the raft, then kind of drifts off over the ocean. Crow sighs "Well, the camera operator is indulging himself..."
  • The Final Sacrifice: "I'm just a bush. You may want to pan off me."
  • A number of times in Manos: The Hands of Fate, most notably when it takes over thirty seconds for Torgo to stand up. Ironically, no single shot could be over about 30 seconds long due to camera limitations.
    Joel: DO SOMETHING! God!
  • Monster a-Go Go has a long short of a nurse going about her duties at night, during which Joel and the Bots don't say a word. When a second character finally appears and speaks, they are startled.
  • Indestructible Man has a long segment of a stripper and a detective talking. It lasts for so long that Tom tries to go to sleep (Joel wakes him), Crow tries to walk out (Joel stops him) and Joel has a few outbursts about how long it's been going on (Tom soothes him).
  • Danger!! Death Ray has a couple of scenes in the beginning. First in when a bunch of scientists are entering a secret base. After they are cleared through the checkpoint, the film spends over ten seconds just looking at the feed of a security camera with nothing of interest happening at all. Finally, Crow just cries out "Okay?!". Later, the camera tracks all the members of the conference just walking through a hallway and taking an elevator downstairs.
    Mike: They really have captured the grandeur of white guys walking in herds.
  • Invasion of the Neptune Men shows about a minute of nothing but radio signals causing Crow to say that few movies can do this and still be good and that this...isn't one of them.
• Andrei Tarkovsky wrote a book entitled Sculpting in Time, which takes its title from his name for this method. The aim is to immerse the viewer in the setting and characters by giving an unbroken, organic perspective, as opposed to a montage-style editing, and is part of the director's Signature Style. Examples include:
  • The highway scene in Solaris (1972).
  • Almost the entirety of his film Stalker (1979), a movie best described as "the hybrid offspring of a Knut Hamsun novel and a Samuel Beckett play, as directed by Stanley Kubrick". Indeed, all of Andrei Tarkovsky's work could probably fit. When Goskino (The State Committee for Cinematography of the Soviet Union) complained that Stalker should be faster and more dynamic, Tarkovsky responded "The film needs to be slower and duller at the start so that the viewers who walked into the wrong theatre have time to leave before the main action starts."
  • The Sacrifice. One of the earliest scenes is a simple pan up a bare tree that lasts over three minutes. This exact shot is repeated later.
• This crops up in I Am Legend. The scene where Robert Neville has a leg injury and must crawl away from the Infected is particularly notable.
• Star Trek: The Motion Picture has several. Before the main credits, it opens with the "overture," which consists of music and stars (white dots) flying by on a black backdrop for three minutes.^note  The stars were added for the 2001 "Director's Edition". The overture was meant to be played with the theater curtains closed, as in older "roadshow" presentations. There is also a several-minute cruise James Kirk takes around the remodelled Enterprise in a shuttlepod to show off the redesign (although as it was the first look at Enterprise on the big screen, many viewers acknowledged it was Worth It). The infamous one is the V'Ger encounter, which goes on and on. The special edition DVD actually makes it longer by including CGI shots that are from shots that were planned or incomplete in the original film.
• Used under the closing credits of The Warriors. The Warriors that managed to get back to Coney Island take a long walk along the beach into the sunrise to the tune of "In the City." The actors had actually walked nearly a quarter-mile by the end of the scene and wondered if they should have stopped multiple times.
• The collective works of Béla Tarr. One of his films - Sátántangó is seven hours long; another - Werckmeister Harmonies is almost two-and-a-half hours, and has only 39 shots in the entire film.
• Gus Van Sant's later works seem to be influenced by Béla Tarr.
  • Gerry, which is simply about two guys (both called Gerry) who get lost in the desert, features long sequences of the two men simply walking without any dialogue. One infamous shot lasts for 7 minutes and consists of nothing but the two walking along a nearly featureless landscape as the sun rises.
  • Elephant (2003) features lots of unnervingly voyeuristic shots of the schoolkids walking down hallways (and walking...and walking...). For most of the film it's very tedious, until the scene where Benny sneaks throught the corridors to stop the shooting and it turns quite suspenseful.
• Many of Rainer Werner Fassbinder's early films use this technique, especially Katzelmacher, where basically all shots are set up like this with great effect.
• Ingmar Bergman used it in his devastating psychodrama Face to Face in the scene where the Liv Ullmann character nearly gets raped by two burglars.
• The Brown Bunny has been described as "a motorcycle journey across the US in real time." It features a number of scenes of Vincent Gallo driving his motorcycle on some salt flats and driving his van on the highway. The rough cut featured at Cannes was apparently much longer, causing it to be infamously flamed by Roger Ebert. The trailer addresses this aspect of the film, with one half of the screen devoted to a single shot of the view through Gallo's windshield as he drives.
• Effectively used in the 1958 western The Big Country. The characters played by Gregory Peck and Charlton Heston have a fist fight, in the middle of the night without witnesses. It was filmed from about 100 yards away so all you see is a huge screen full of west Texas nothing and two little men fighting for several minutes. The director set every thing up and told the two actors to keep fighting till he said stop. The director called action and the two men proceeded to trade blows, eight hours later he called cut.
• Sergio Leone made extensive usage of this trope in most of his films.
  • Once Upon a Time in the West, uses the technique a lot to very great effect:
    • The opening scene shows three outlaws waiting on the empty platform of a train station in the middle of the desert at noon, just leaning on rails or swatting at flies and not talking to each other for almost 8 minutes. Then the train arrives and they watch it stopping and leaving with nobody getting off, which takes another 4 minutes. But when the train has left, there's a man on the other platform, and they exchange only five short lines before shooting each other. Fortunately, the Mysterious Stranger gets up again with only a minor wound.
    • The legendary final duel lasts for almost 9 minutes, during which the villain has two lines with a grand total of 8 words, and only a single shot is fired. Just stepping on the open patch of sand behind a shed takes 3 minutes and THEN they begin their staring contest. The scene gets a lot of tension from showing the final part of the Dream Sequence that had appeared on multiple occasions during the film and finally reveals Harmonica's hidden motivation.
• M. Night Shyamalan seems to love endless, endless footage of silent men standing in doorways.
  • A different example of the trope occurs in The Sixth Sense, when A bereaved father is shown a video of his dead daughter putting on a puppet show, which leads into a grisly shot of the mother poisoning her, revealing her complicity in the daughter's death.
• The final shot of The Silence of the Lambs. Hannibal Lecter hangs up the phone, puts on his hat, and strolls off down a crowded street after Dr Chilton. The credits even start rolling partway through the shot, but he just keeps on walking.
• Many parts of Koyaanisqatsi are basically long, plotless stretches of scenery and new age music. This is used to great effect, particularly since the film isn't a traditional narrative, but rather a "visual tone poem," meant more for meditative purposes. Other parts of the film, however, feature equally effective conventional editing.
• Night Of Horror features a just over three-minute long scene filmed out of the various windows of a camper as it travels down a highway through Maryland and Virginia. The scenery is not that interesting. There is no dialogue, only the same three minor chords played over and over and over again. After that, a character reads "Bridal Ballad" by Edgar Allan Poe for almost two and a half minutes. The recap site The Agony Booth considers these to be the six worst minutes of film ever recapped.
• Gertrud: This film only has 89 shots in a 111-minute movie. There are several long takes of three minutes or longer. Gertrud's breakup scene with Erland runs five minutes without a cut, and her talk with Gabriel when they talk about their past and he reveals Erland's perfidy, which runs ten minutes without a cut.
• Remember the ten-minute sleeping scene in The Ring?
• Done to great effect in the ending of The Third Man. The last minute of the film, shows Holly waiting a the side of a road for Anna as she slowly approaches him... then walks past him without even a glance.
• The first few minutes of There Will Be Blood.
• Plan 9 from Outer Space is rife with scenes consisting of nothing but Tor Johnson, Vampira, and Bela Lugosi's clumsily disguised stand-in wandering aimlessly (and very slowly) around a graveyard. But at least Tor's struggle to climb out of an open grave becomes an unintentional Overly Long Gag.
• The works of avant-garde Canadian filmmaker Michael Snow. In Wavelength, which features a 45 minute zoom on a wall. Even worse, La Region Centrale consists of a camera... on a tripod... on a hill... spinning around...for three hours.
• The scene of the creation of Rocky in The Rocky Horror Picture Show. In true surreal Rocky fashion, several casts now turn down the sound and do something else entirely during the scene nowadays.
• Lawrence of Arabia features many long shots of majestic landscapes set to soaring music. It's been said you can tell a person's age by whether they're enthralled or bored out of their mind.
• One Hour Photo features a thirty-second scene of Sy standing in his apartment holding a glass of water as an illustration of how banal and empty his life is. According to the Director's Commentary, he told Robin Williams to just stand there for a while and he'd find some way to work it into the movie.
• Used effectively in the ending of The Long Good Friday as the Villain Protagonist is "taken for a ride". We see Bob Hoskins sitting in the back of the car as he visibly reflects on all the decisions he has made that led him to that position. Hoskins was quite against the scene, but apologized to the director when he saw the final product.
• Sam Mendes loves doing this trope, even for scenes with just two characters talking (in part thanks to his background in theatre).
  • This started in American Beauty, then continued that with Road to Perdition, Jarhead and so on.
  • Revolutionary Road has its fair share of those, but the biggest one? April looking down at the carpet, having a miscarriage and walking out of frame to call an ambulance.
  • Skyfall had two major LTCR moments: Bond and Patrice fighting in Shanghai and Raoul Silva's introduction.
  • The opening shot of Spectre lasts for four minutes. The secret organization scene in Italy (where we first see Blofeld) also counts as that.
  • 1917: The film is shot as though it is two long takes, from start to finish. Though eagle eyed viewers can probably figure out where cuts likely happened, that doesn't change the fact that otherwise the film overall is a big series of Oners.
• Denis Villeneuve may as well be Sam Mendes’ distant cousin because he also uses the trope to maximum effect.
  • Incendies, Prisoners, Enemy, Sicario, Arrival and Blade Runner 2049 all have so many LTCR moments it would be impossible to count.
  • Enemy and 2049 have the longest and largest use of LTCR moments out of all his films, with shots often lasting for massive amounts of time.
• Most of Jean-Luc Godard's film Weekend (1967) could be said to be this, but especially the 11-minute tracking shot of a traffic jam. This sequence also has the added effect of driving the viewer nuts. Which, to be fair, was Godard's point, he wanted to showcase the excess of the rich. It also creates a very effective Mood Whiplash as the audience shares the various drivers' boredom and aggravation at the pointlessness of all this... until we finally see that the traffic jam was caused by a horrific car accident.
• The film version of Pink Floyd's The Wall has a static 45-second shot of the Wall at one point.
• This was also used throughout Paranormal Activity as a means of building suspense. Much of this is from frequent and lengthy shots of Katie in the bedroom. Notable other scenes include literally leaving the camera running while a Ouija board bursts into flames and the ending, where the camera is left on the tripod while the characters are both downstairs. The lengthy silence is broken when Micah is thrown into the camera. Another, very subtle example shows up at the end of the film, as the last title cards show the ambient noise is heard against a blank screen, as if the camera was just left rolling.
• Spaceballs spoofs 2001: A Space Odyssey's (and to a lesser extent, the opening shot of the Star Destroyer in Star Wars A New Hope) long establishing shot of the Discovery by panning along the Spaceball One and panning... and panning... and panning... and the ship is shaped so that several times, just when you think you've reached the end, there's still more ship. And it's all done to the Jaws theme. Director Mel Brooks has gone on record saying that he would have loved to have done an entire two hours of that shot if he thought he could ever get away with it.
• A couple of times in Star Wars, though for slightly different reasons; one has David Prowse gesturing long after James Earl Jones has stopped talking; and also a way-too-long shot of a Stormtrooper ("Look, sir, droids!" beat, beat) which Spaceballs manages to spoof just by doing exactly the same thing.
• Vase de Noces (also known as The Pig Fucking Movie), aside from its obvious scene of a farmer sodomizing a pig, seems to consist of endless random scene after endless random scene of the farmer slotting dolls' heads onto doves, of chickens and turkeys having sex, of chickens and turkeys sitting around doing nothing, of the farmer collecting pieces of vegetables in jars and putting them on a shelf, of the farmer defecating, of the farmer eating the pooh...
• A trademark of director Tsai Ming-liang. His film Vive L'Amour, for example, ends with a several minutes long shot of nothing but a woman crying.
• Playing God, with David Duchovny and Timothy Hutton, has an unusually long establishing shot of the exterior of the main house in act three. It's just a house.
• There are many long, slow shots during the first 40 minutes of Alien as the crew leaves cryosleep and lands on the planet.
• Concert Film The Last Waltz: Almost all of Muddy Waters' performance of "Mannish Boy" is shown as a single unbroken take from a camera at stage right. The reason for this was that Waters had bounded on stage during what was supposed to be a scheduled camera break to change film. The only one who had film ready to shoot was Oscar-winner Laszlo Kovacs at stage right, who hadn't heard the message to change film because he had his headset off.
• In Boogie Nights, Dirk Diggler staring forward for 51 seconds before realizing that selling baking soda as cocaine to a freebase-smoking drug dealer (Alfred Molina) with a bodyguard was not a good idea.
• In One Flew Over the Cuckoo's Nest, the camera focuses on Randal's face for more than a minute as he quietly thinks.
• Moon uses it to show the silent tedium of a solitary astronaut going about his daily routine.
• Five Easy Pieces ends with a pretty long, static shot of a lonely gas station in the Pacific Northwest, after Anti-Hero Robert has hitched a ride, abandoning his pregnant girlfriend at said gas station.
• Most of Nick Millard's films such as Criminally Insane and especially its sequel use this.
• Many, many scenes in Doctor Zhivago, particularly static shots of the balalaika while music plays.
• Moments of this trope are very common in Jacques Rivette`s films, which is why they often run close to and over three hours.
• Sofia Coppola uses this trope in her films. Lost in Translation has an uninterrupted scene of Bob playing golf in between press events. The Bling Ring has a minute-long scene of Marc smoking and dancing while webcamming, a recreation of the original online video. Somewhere starts with several minutes of watching a sports car doing laps from a fixed position, while Marie Antoinette (2006) ends with a shot of the titular character’s ransacked bedroom.
• Many of Irréversible's scenes, especially in the second half of the film, involve long scenes with no visible camera edits and random dialogue, such as the main characters talking about relationships while riding a bus. This is largely due to the fact that there was no script – the actors were given a 3-page outline and improvised all of their lines. The infamous rape scene is notable mostly for being not only 9 minutes long, but featuring only one camera angle, no music, and only one instance of anything happening beyond the focus of the scene.
• Seed has a scene that's just five uninterrupted minutes of a woman being beaten with a hammer, shot with a stationary camera. It's disturbing up until the Special Effects Failure, at which point it just becomes awkward.
• This is used in what is probably the most infamous scene from The Exorcist III... a single continuous shot of a hospital nurse station in which nothing much happens for several minutes, abruptly interrupted at the very end by a killer lunging at the nurse with a pair of hedge shears.
• Taiwanese director Edward Yang loved him some long takes. Yi Yi in particular has an at least minute-long shot of a dishwasher.
• The entirety of the second stinger of The Avengers. A couple of minutes of the heroes sitting in a restaurant, eating schwarma at a leisurely pace and saying nothing. It's also a Brick Joke since after the climactic battle, Tony Stark casually asks if anyone wants to get schwarma later.
• Elaine May, Mike Nichols' onetime comedy partner, pretty much made her third film, Mikey and Nicky, this way. She had John Cassavetes and Peter Falk improvise extensively, in addition to shooting the scripted scenes, and kept the cameras rolling as they did so, even as they slipped out of character. At one point she even kept the cameras rolling on their empty chairs for several minutes after they both left to go do personal errands and/or eat. When one of the camera operators had finally had enough, he took it upon himself to say "Cut!". This is a major breach of filmmaking etiquette, since only the director normally has that privilege, and May dressed him down for it. He pointed out that the principals had left the set. "They might come back," she responded. She wound up shooting more raw footage than Gone with the Wind and fought with the studio over the cut for years, only releasing her final cut ten years later. Between that movie and Ishtar, she effectively forfeited any chance that she will ever direct a studio picture again.
• The Graduate. How long are they sitting on that bus, slowly realizing they have no idea what they will do next, having burned all their bridges behind them? Nichols literally left the camera running without warning the actors.
• Belgian director Chantal Akerman relied on this technique for her 1975 classic Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. The camera sits on a counter in the title character's kitchen through long takes without zooms or reverse angles, where characters go in and out of the frame as necessary and we can only hear them. Sometimes it stays on as she leaves the house to work or do errands.
  • Chantal Akerman loved this trope in general. Her first feature film Je Tu Il Elle consists of long takes of her (as the main character) sitting in her room, shifting furniture, writing letters, eating sugar, taking her clothes off, putting them on again, etc. The final scene of the film is a ten-minute sex scene between Akerman's character and her supposedly ex-girfriend, all done in about three shots, maybe four.
• Michael Clayton ends with an extended shot of the title character in the back of a cab, showing his facial expression as he wordlessly contemplates what he's just done.
• The killer in Lucker the Necrophagus sits in a chair and observes a woman he has strung up scream for about four minutes straight.
• Tejut is a Hungarian art film composed of vignettes all filmed in this fashion.
• Lucky Bastard qualifies as an In-Universe example. The setting is a gonzo/reality porn company; the producer insists that EVERYTHING be taped (even behind-the-scenes events with his staff and performers), even when a number of people repeatedly demand that he turn the camera off. To top it off, the second half takes place in a mansion outfitted with numerous security cams, all filming constantly.
• The Joanna Hogg film 'Archipelago' uses long, unbroken shots with no background music, and much of the dialogue occurs off-camera. It makes the viewer into an uncomfortable voyeur of the family holiday.
• Kiss of the Tarantula: The scene of Susan being followed through the woods by Bo and of Susan lowering Walter into the casket could've shaved ten minutes off the run time with some editing.
• Heat ends with a fifteen second shot of Lt. Hanna standing framed in the lights of Los Angeles International Airport holding Neil McCauley's hand as he dies.
• Done throughout the low-budget sci-fi movie R.O.T.O.R. to pad the running time, such as showing the protagonist puttering around his house, having a leisurely dinner with his girlfriend, and driving to work.
• Ishir⁠ō Honda, director of most of the classic Godzilla films as well as many other kaiju films, had a strange habit of including extremely long takes of people performing various monster-related ceremonies and rituals. Examples range from the primitive islanders of King Kong vs. Godzilla and Mothra to the advanced people of the subterranean Mu Empire in Atragon, but the setup is always almost identical: have a bunch of people in silly costumes sing and dance for about five minutes, and leave the camera running the whole time. Honda also seems to have enjoyed long takes of people walking through nature, especially mountainous areas.
• Nearly all of Jim Jarmusch's films use this as part of his minimalistic style. For example, Stranger Than Paradise features quite a few very long shots with nothing going on. One sequence is just an empty, snow-filled landscape from inside of a car on a road trip. Even the cuts are lengthened, with black screens inserted between shots to further slow the pace down.
• The soon-to-be-released experimental film Ambiance takes this to its logical apotheosis. The film is 30 days (yes, days) long, and was supposedly done in one take. Even the trailer released is 7 hours long and is nothing but the two actors in the entire film doing cryptic stuff as the camera stays in one spot.
• Played for Laughs in Austin Powers, with Dr. Evil and his minions indulging in some evil laughter, which after a while slowly and awkwardly peters out as they don't really know when or whether they should stop.
• Call Me by Your Name ends with a heartbroken Elio crying in front of a fireplace after learning Oliver got engaged to his on/off girlfriend. The camera lingers on him for virtually the entire length of Sufjan Stevens's song "Visions of Gideon."
• In Des hommes et des dieux, the camera has a tendency to linger on the beautiful scenery as the subject of the shot slowly disappears into the distance.
• The independent 2016 film Paint Drying literally consists of silent, static footage of a freshly-painted wall that goes on for ten hours, even longer than Andy Warhol's Empire. It was an intentional troll movie made to protest against the British Board of Film Classification, which charges exorbitant fees for their review process based on film length, something that director Charlie Lyne deemed as censorship as it gated independent filmmakers from getting necessary clearance to distribute their movies. The BBFC have to watch through all of the films they review to give it a rating, so Lyne set up a Kickstarter campaign for the movie, its length decided proportionately to how much the BBFC would charge to review it. And yes, they did end up having to review it — Paint Drying now has a U rating, indicating it is suitable for all ages.
• Marco Berger does this a lot in his films. Plan B in particular has numerous scenes where the camera lingers on the main characters' faces or profiles for a long time, especially the ones where the characters are silently agonizing over their feelings for each other while apart.
• Yet another example of a lengthy film doing this was Baa Baa Land which was nothing but sheep walking in a field for eight hours. It's available here.
• In A Ghost Story this happens several times during the film, most remarkably when M sorts through her mail and silently eats pie after returning from C's funeral.
• The Time Machine (I Found at a Yardsale) has loads of pointless scenes that drag on for a long time, including an infamous scene of the main character drinking orange juice for over a minute.
• Birdman or (The Unexpected Virtue of Ignorance) at one point leaves the camera to point at an empty hallway, and nothing happens for about 10 seconds until one of the main characters walks in. However, the entire film is filmed and edited to look like it's filmed in one take, and this was used to switch the focus to an another character without cutting away.
• Quentin Tarantino started his career with a 99 minute movie, but everything afterwards nearly breaks two hours or easily surpasses it. It usually owes to long takes, long dialogues, and Slice of Life moments that contribute almost nothing (such as many, many driving scenes in Once Upon a Time in Hollywood).
• Meek's Cutoff features many long takes without dialogue and without much going on as the pioneers travel by wagon train. The film opens on a lengthy sequence of people going back and forth across a river in silence.
• Avengers: Endgame spends fifty seconds just showing Thanos getting his breakfast ready.
• The camera in doesn't move or cut in Stations of the Cross, remaining as unmoving and distant as Maria's parish. Even when a scene is set in a moving car, the camera barely moves. The only two exceptions are in the tenth station, where Maria moves from the pews to the altar for her Confirmation, and, more shockingly, when the camera moves from Maria's grave to the beautiful fields and finally to the heavens.
• Happens in almost every scene of The Plague at the Karatas Village, most likely to underline the otherworldliness of the village and the questionable sanity of its inhabitants.
• A Certain Sacrifice is an obscure drama that only got released years after it wrapped because Madonna happened to be the star. Todd in the Shadows noted in his review that given it was basically an unfinished movie with barely anything to cut, it manages the feat of being only 62 minutes while having scenes that don't seem to end, particularly the Satanic ritual of the title lasting 7 minutes.
• Skinamarink is an experimental horror film that infamously really likes to take its time. The minimalist cinematography and editing leaves the camera static, observing what are usually very dark rooms of a house whose windows and doors to the outside have vanished, with nothing happening most of the time (repeat: most of the time). The effect becomes steadily more unsettling as the rooms get darker and the rooms become more challenging to discern, requiring a level of concentration and focus to notice that there's something in the dark there after all...
• Played for horror in Pearl, which ends on the title character flashing a Broken Smile... which she keeps as the credits keep rolling. The expression is already unnerving, and it gets more uneasy to look at when held for three minutes.

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