Tribeca Review: Sophia Takal's Act One Emerges as a Vivid Nightmare

      After her reimagined version of Black Christmas, Sophia Takal’s Act One emerges as a divisive project set in the shadows of Anytown, USA, though predominantly filmed in and around Takal’s hometown of Montclair, NJ. Taking place during the era of AOL Instant Messenger—before social media and influencers muddled teenagers’ minds—Act One serves as a psychosexual thriller that captures the essence of 1980s films focused on suburban threats. Shot in the restrictive Academy ratio of 1.37:1, the camera frequently inches closer to picturesque portrayals of domestic life on the brink of collapse. The film exudes a kind of lucid nightmare that its antagonist, Melanie (Ari Graynor), would encourage aspiring actors to delve into for their character development. For the impressionable Hannah (played by the perfectly cast Ella Beatty), this peril is part of the artistic journey; she sees her willingness to breach healthy boundaries as indicative of personal growth.

      In an unspecified town—though it bears New Jersey license plates—Melanie is somewhat of a legend, at least in her own perception, known for both nurturing and undermining emerging talent. When Hannah finds herself at a pivotal moment after being excluded from her high school production of Rumors, she seeks out Melanie’s guidance. Initially, Hannah faces criticism from her mother, Julie (Elizabeth Reaser), for her refusal to get contact lenses and for wearing somewhat awkward glasses. Although Beatty is in her mid-20s, she convincingly portrays a high school senior on the cusp of 18, exhibiting a level of emotional intelligence that makes others—like her classmate Henry (Nate Mann) and Melanie—forget she is still a child.

      Perceiving Hannah as a blank canvas, Melanie effectively grooms her, asserting that an artist's role is to “heal people” and vowing to transform Hannah into a great performer if she is willing to commit fully. Hannah eagerly accepts this and initially engages in evening classes before auditioning with Henry for an “advanced” class that serves as a cult for those willing to immerse themselves completely. This class demands availability at all hours; soon, Hannah is sneaking out at night to rehearse at the studio or attend private sessions at Melanie's home. One of these sessions ultimately crosses a boundary, leading to psychological repercussions akin to those often experienced by online content moderators—the necessity to internalize and convey “big emotions” proves just as damaging for a teenager thrust into the limelight. Meanwhile, Julie, preoccupied with her husband's antics (Robert Sean Leonard), becomes unaware of Hannah’s situation, later shocked to discover that Melanie has taken on a maternal role, even accompanying Hannah to obtain birth control and contact lenses.

      Presented as a thriller, Act One is a gripping film reminiscent of Josephine Decker’s Madeline’s Madeline, which similarly delves into a young woman grappling with identities beyond her comprehension. Both films explore control on and off stage, but while Helena Howard’s Madeline is urged to distinguish between performance and reality, Hannah is encouraged to blur this line to uncover depth within her subconscious, venturing into territories most would hesitate to explore for the sake of “art.”

      Takal, an actress steeped in genre-blending cinema, crafts an intriguing film that feels like a nightmarish vision—it gradually grows darker as it investigates the inner dynamics of a cult that demands silence and strict discipline. While there are moments that raise red flags, Melanie has learned to skillfully navigate legal limits while breaching ethical constraints. Much of this feels anchored in a specific timeframe; Takal, an elder millennial, situates her film in the late 1990s/early 2000s, a period when the Internet began to link the globe, prior to the advent of smartphones. Act One accurately captures the time, place, and anxieties characteristic of that era with striking honesty.

      The film is adept at showcasing Hannah’s liberation and subsequent disintegration. Like Melanie, Act One does not shy away from harsh realities, echoing other dark narratives of manipulation, such as Craig Zobel’s Compliance. While some may view the plot as overly implausible and the conclusion somewhat anticlimactic, it serves as a universal true-crime account of a mentor overstepping boundaries, all while employing the visual and editing style of a “stranger danger” TV film. Ultimately, Act One is a compelling character study, and although some scenes may feel slightly rushed due to its structure, the film thrives on the powerful performances delivered by Beatty and Graynor.

      Act One premiered at the 2026 Tribeca Festival.