The Fishing Place

The most intriguing figure in “The Fishing Place” is, in a manner of speaking, Tregenza, who throughout the film continuously draws attention to his camerawork, as he plays with the palette and different registers of realism.

Working on a relatively low budget, in isolation from Hollywood, Tregenza displays a virtuosity that is fully integrated into his comprehensive cinematic vision, his finely imagined re-creation of history, and his long-gestating complex of ideas.

The film’s particular genius lies in a very consistent use of off-screen space.

It’s a shame that the conversations The Fishing Place will provoke just might be far more substantial than anything within the film itself.

Aficionados of long, contemplative single takes will appreciate The Fishing Place...

It’s an elusive, slippery object, and probably a masterpiece of sorts.

Despite the aforementioned shortcomings, the qualities of The Fishing Place far outweigh them, making Tregenza’s film a fine work of art for the curious to explore.

The Fishing Place is a befuddling World War II drama that's solely for "slow cinema" and art-house audiences. An interesting premise purposely loses narrative focus in favor of stylized visuals and exaggerated theatrics.

The Fishing Place is a compelling but alienating showcase of human nature.


War dramas can so easily stay inside of a box, something that THE FISHING PLACE seems actively bent on rebelling against. Simply for that reason, Trezenga’s film is worthy of consideration and conversation.