Despite the three act structure, the film does not move in chronological order and switches viewpoints between the three characters, and we discover them to be really alive and truly fascinating, each driven by their own individual goals, plagued by their own individual problems but also somehow managing to connect in a world that seems to seek out alienation more and more. But it is not just connecting with the present world - it is also reaching out to past and present. For instance, Michelle tries to influence the life of a young man and encourages him to read classic poetry, which then goes on to influence the lyrics of his raps. Marie on the other hand, is deeply saddened by the fact that she has forgotten his voice, and her every attempt at remembering it becomes a fascinating journey that gradually leads her to finding herself.
The creativity in the narratives and the entrancing nature of the character development makes this film gripping from start to finish. It is remarkable to think how many things the filmmakers have time to deal with in the film, from relationship, mental illness, redemption, and fascinating reflections on art, science and even the everyday life. These themes and subjects are perfectly conveyed by the dialogue themselves, and some thought provoking monologues that are particularly intelligent. But it is equally impressive to consider that the whole thing comes together in little over ninety minutes at length, and its somewhat unrushed but intense pace glorifies the emotional and psychological depth of the film as well as the power of each of the individual elements in it, to the point where we are given the opportunity to actively interact with it.
Robert LePage and Pedro Pires are also to be admired for their bold visual style, mostly dark and dreary - an unusual and somewhat undiscovered type of colour palette and saturation that makes sense in the age of digital filmmaking and conveys the mood and atmosphere of Triptych, sometimes charming, at other times depressing, but overall simply lifelike. But Triptych is also a film that is not afraid to take its viewers out of their comfort zone, not just by developing storylines inside emotionally heavy situations, but also by infusing the film with a chilling layer of realism through authentic Super-8 archive footage and a downright shocking use of real brain surgery footage in one of the film's most suspenseful scenes and simoultaneously mixing it with dream sequences that take us inside the mind of the characters and reveal a deeper and even more personal side allowing us to understand their nature more deeply and compellingly.
