-Written by Kyle Bain.
2024 HOLLYSHORTS FILM FESTIVAL REVIEW!
When a high-end art dealer, Margaux (Emma Suki), is faced with the demons of her past, she must ask herself if she has the strength to survive or if she will be consumed by her art. Triptych explores the dark side of art, and questions whether or not Anna has what it takes to survive.
Nedyalkov is a truly compelling actor, one that commands the screen and is the most prominent focus of the entire film. Triptych is dark, powerful, maybe not quite a horror film, but certainly in the same vein. There’s a good amount of mystery present in this film that keeps viewers on the edge of their seats throughout. Triptych is a blend of genres and artforms, and it’s important to take special care of something this delicate, something that can, with so many moving parts, easily fall to the wayside. There’s certainly something to be said about Writers Atticus Hoffman and Roland Walters, as well as Director Sophia Ray, but the star of the show is most certainly Suki who carries the weight of the film on her shoulders from start to finish. There isn’t any one thing asked of her in Triptych, but rather a heavy load that requires her to dive deep into her repertoire and be just as powerful as the images on the screen. She carries herself well, and, as the focus of the film, she becomes one of the most intriguing aspects of the entire production. She’s brilliant in her performance, anyone that watches Triptych can tell you that–but she possesses a level of poise that is rarely seen, a characteristic that allows her immense success in this film.
Next up is Ray, the ultimate head of the production. She’s tasked with ensuring that these themes and ideas are cohesive and that they resonate with viewers, that Triptych is effective in its venture. She is brilliant in her journey toward finding success for Triptych. Triptych slips in and out of genres with ease and fluidity, making it easy for viewers to follow–even if the story is deep and layered. Through Ray’s expertise and ability to blend genres effectively, Triptych becomes more enjoyable, more understandable, and ultimately more effective.
Interestingly enough, as charming and powerful as Triptych is as a whole, one of my favorite parts is the use of color in the closing credits. The screen remains monochromatic throughout the course of the end credits, using red to brilliantly represent the incredible story present through the rest of Triptych. I always find it interesting when a director decides to extend the film beyond the actual narrative, into the closing credits–strengthening the narrative and the film as a whole.
Ray goes above and beyond in her development of Triptych, and she employs a brilliant actor in Suki to succeed as well. These two women take the reins on this film, they start off powerfully, vibrantly in their development and performance respectively. They bring this film to life with vigor, and in one of the most unique cinematic experiences that I’ve had in a long time, I finished this film wanting more. I want more from each of the aforementioned talents, and I want more of this story.
Directed by Sophia Ray.
Written by Angela Hoffman & Roland Walters.
Starring Emma Suki, Emmanuel Imani, Stoyan Radev, Angela Nedyalkov, etc.
8.5/10 = WORTH RENTING OR BUYING
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