I love Sebastian Schipper. Anything I see him in as an actor, he manages to nail (Tom Tykwer’s 3 immediately springs to mind, and if you haven’t watched that film, you are missing some damn fine performances and one hell of a love story). As a director? Dude’s got game. Serious game. In fact, there’s a film he directed available on Netflix, called Victoria. It’s about a young woman that gets sucked into a night of debauchery with strangers. I highly suggest that you watch it. Here are five reasons to do so.

Schipper shot this in one continuous take. Do you realize how often we take editing and perspective shots for granted? An entire film’s meaning can change based on perspective, and yet this film just views the action dead on, and it doesn’t stop. Think about how much effort that must have taken on the parts of both the actors and the director. Not an easy feat; there’s reason why people don’t do this very often. It’s solid and should be commended for its ingenuity alone.

Ah, German. It’s a mildly terrifying language. No matter how nice of a thing you’re saying, it sounds forceful, like someone is threatening you. Now imagine this: you don’t speak that language, but other people around you are conversing in German and you have no clue what they’re talking about. The pure levels of panic you’ll experience are great. (For the record, I speak some German. I knew what they were saying.Yay Germany!)

Some films suffer from the psychological condition known as pressure of speech: the need to keep talking because you can’t stand any form of uncomfortable silence. This is not the most appealing approach by a long shot; I’ve been known to yell, “Shut up!” at some movies. Please, sometimes, I just need five minutes quiet. Victoria knows when to stop talking, when to play music (more on that in a minute), and when to let us look out the car window. That’s smart right there.

Some of the best parts don’t have words.

Anything that can start out with techno and then move to classical piano before progressing to a few nuanced notes needs to be careful. It’s easy to misstep with musical choices. This one, however, does not. everything is appropriate, and helps guide our feelings. It evokes sympathy and smiles when we need them.

This whole mess that our main character Victoria (Laia Costa) gets herself into stems from her need to form connections. You get a whole backstory on her, and you get to see her connect with Sonne (Frederick Lau) on different levels. I, for one, love watching the facial expressions of actors as their characters form the bonds of their friendship or love. You won’t be disappointed with what Schipper captures via Costa and Lau.

You don’t care that you can’t understand them half the time.