Zal Batmanglij and Brit Marling’s new Netflix series The OA is a supernatural story that blurs the line between television and film.
“The way I see it, The OA is a long-form movie — more than seven hours long, in fact — divided into eight chapters, conceived by a pair of paradigm-challenging filmmakers who’ve recognized untapped potential in this new medium,” writes Variety‘s Peter Debruge. “Let’s call it ‘on-demand storytelling,’ where auteurs have been given a chance to tell stories that don’t fit neatly into two hours (or however long most people can hold both their attention and their bladders). Because it’s being produced for Netflix, and not for a major studio, it’s not obliged to appeal to everyone, but can justify its own existence by connecting with a core of passionate viewers. That’s part of what’s so incredible about The OA: It’s one of the purest pieces of auteur filmmaking I’ve seen all year, piped directly from the soul of its creators, writer-director Zal Batmanglij and co-writer-star Brit Marling, onto the screen, where the right audience seems to have found it.”
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