One-shot film

A one-shot cinema, one-take scene, continuous shot feature film, or a "oner", is a full-length movie filmed in one long take by a single camera, or manufactured to give the impression it was.
Use and theory.
In a 2019 article, discussing the award-winning film "1917" (2019), Eric Grode of "The New York Times" wrote that very long takes were becoming popular in more mainstream films "as a sobering reminder of temporality, a virtuosic calling card, a self-issued challenge or all of the above", also citing the Academy Award-winner from several years prior, "Birdman" (2014).
History.
Grode notes that before such films as "1917" and "Birdman", the one-shot had a history of over 70 years, from 1948's "Rope", which was shot in 10-minute continuous takes (the physical limit of film at the time) that appear as a one-shot. Reportedly, James Stewart, star of "Rope", did not like the long takes and apparently muttered on set that the cameras were more important than the actors. The director, Alfred Hitchcock, intended to shoot the film as if it were a play, and perfectly timed each 10-minute segment to allow for hidden edits behind furniture; elaborate camera and actor choreography was used. He wrote "Rope" this way because he felt "if time passed between cuts, the suspense of whether the body was still in the trunk would be lost".
Grode also examines the 1958 film "Touch of Evil" as an example, though only its 3-minute opening sequence is shot in real time. However, the use of a real time ticking bomb through the single shot is seen as a standard.
Examples.
Actual "one shot".
†One five minute shot and the film's opening credits precede the film's 57 minute main shot.