Tribeca Review: The Revisionist Is a Comedy of Etiquette That Becomes Complicated

      Alex Vlack’s *The Revisionist* comprises all the traits of an exceptional comedy of manners before shifting to a direction that is evidently hinted at in the film's early scenes. While revisiting it with this context in mind may lend some additional weight, it's still disappointing that the film didn't maintain its trajectory, which could have resulted in a refreshing satirical character study if it had taken a more straightforward approach. This is an unusual instance where a bold choice detracts from what could have been something remarkable had it progressed in a simpler, more traditional manner.

      Elise (Alison Brie) plays a novelist-turned-academic who finds herself mentoring her husband Jacob (Tom Sturridge)—an advertising professional turned biographer—while he tries to write about his father David (Dustin Hoffman). David is a renowned storyteller who is reluctant to share his tales with his son. He feels more at ease with John (André Holland), Elise’s charming ex-lover and Jacob’s best friend. John’s entrance is so impeccably timed that one might expect his last name to be MacGuffin. After spending years away from their college town on his own escapades, John returns without employment or a plan, yet effortlessly charms everyone around him.

      At this point, *The Revisionist*—debuting in a festival filled with documentaries that not only have the celebrities’ endorsement but are also produced by their teams—could have cleverly critiqued the concept of the “authorized” biography. Jacob assures his publisher access to David that the latter declines to provide. Meanwhile, John consents to record David’s stories once they start spending time together, funneling those recordings to Jacob until John receives an irresistible offer from his past.

      Simultaneously, Elise invites John to give a guest lecture at the college, where he imparts wisdom to a class of hopefuls and aids a student in developing a story that appears to lag midway. John seems to have this uplifting effect on everyone he meets, even motivating a receptionist at *The New Yorker* to persist in her pursuits, despite his prolonged absence from his friends and the literary community for around 15 years.

      While individual scenes—particularly those featuring David and John—outshine the main storyline of Jacob and Elise working to find their voices, what seems like a critical flaw in the moment is actually intentional in Vlack’s writing. Transitioning from nonfiction and museum exhibitions to feature filmmaking, Vlack is familiar with colorful, captivating characters possessing compelling tales. There are instances that thoughtfully explore the creative process, even though the plot takes various twists as Elise seeks David’s counsel on ethical boundaries before eventually seducing John, who is all too willing. If the friendship between John and David feels implausible and forced… well, that is a conscious choice.

      Ultimately, *The Revisionist* is a film about managing the creative process, filled with compelling moments that hint at intriguing possibilities that the film doesn’t fully realize. It leans on predictable plot developments that suggest the product of a hasty first draft—which, once again, is by design. This aspect could be considered the least captivating part of the creative process: the early drafts that typically gather dust on a laptop until they are thoroughly refined.

      Had Vlack adhered to the original satirical premise, it could have succeeded beautifully. All the components, including a stellar cast, are in place for a clever comedy of manners about a gifted man who feels resentment towards his unremarkable son and prefers that a likable peer tell his story. Instead, the creative process is showcased in a manner that seems more laborious than groundbreaking as Elise indulges in her own type of wish-fulfillment while navigating ethical boundaries. Once I discerned the film's direction, my interest began to wane. This is unfortunate, as *The Revisionist* shines brightest in its portrayal of David’s orbit—a figure who has connections everywhere, enjoys sleeping in, and casually offers you a Negroni at 11:00 AM. The creatives surrounding him come across as rather uninteresting, despite leading nearly perfect lives; perhaps the underlying message is that certain academics can become disconnected while pursuing authenticity in the least authentic manner possible.

      *The Revisionist* made its debut at the 2026 Tribeca Festival.