The Revisionist
Filmmaker Alex Vlack‘s debut is staggering. The Revisionist follows a twisted tale of artistic integrity and the unpredictability of the creative process. At an impasse for her latest work, novelist Elise plays dirty emotional warfare with those closest to her.
Dustin Hoffman plays David, Jacob’s aging, eccentric, but successful novelist father, with effortless cool and a curmudgeonly overtone. The distinct difference in tone from one scene to the next is a goddamm masterclass.
Tom Sturridge gives Jacob a trauma-filled sadness. He wallows in the lack of paternal connection, a level of wounded bird that counters both John and Elise. Sturridge is a dream partner. The total opposite of toxic masculinity. 
André Holland‘s John walks a beautiful line between friend and opportunistic human. His confidence is sensual. As Elise, Allison Brie hones in on a role unlike anything she’s tackled before. The quiet focus and visible wheel turning hold you hostage, but she never loses her relatable charm we’ve come to expect. Her chemistry with Holland is electric.
Byron Werner‘s camerawork is exquisite. Philip Klein’s score manages to immediately reel you in and throw you off kilter. Vlack’s script forces you to question reality from the moment the dialogue begins. Jon Fine’s editing kept my suspicious brow furrowed with all sorts of theories throughout the film’s entirety.
Tribeca 2026 audiences are in for a banger in every sense. One hell of a first go, The Revisionist is the stuff of storytelling dreams. I cannot wait to see what Alex Vlack does next.
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