The master of French criticism André Bazin always defended the sequence shot as the cinematic resource that, by maintaining the continuity of space-time without the intervention of editing, could bring a film closest to reality. What would the co-founder of Cahiers du Cinéma, of the twistedly exhibitionist drift that this technique would be taking and, above all, of how contemporary cinema has contaminated it with digital effects until it has taken it to the realm of the impossible? Surely he would turn in his grave if he heard echoes of a title like MadS, which tells the story of the emergence of a potentially apocalyptic epidemic outbreak live, through a single, hour-and-a-half-long sequence shot.