Scalene - you remember - from elementary math class? The type of triangle where nothing is equal. No equal angles. No equal sides. SCALENE is a stunning triangle of a film. It is everything that is positive about the indie film movement, with none of the hype, none of the gimmickry, none of the compromise that is so evident within the studio system. Told from three points of view (Kurosawa's ROSHOMON set in a medium sized college town in America), it also juggles linear plotting with non-linear plotting, and even some "reverse plotting." Yet, it never feels like a rip-off of Christopher Nolan's MEMENTO, it never feels like a bastardization of Kurosawa, because it is not. It still has what every good film requires: a good story. In fact, fans of Nolan's Memento will note that this film seems to manage the transitions better - so that one is momentarily off-kilter, but moves inevitably toward stronger ground and a stronger understanding. Bravo.
Like Roshoman, this film examines a rape. It also deals with other poignant issues, including domestic abuse, mental illness, revenge, deception, and murder. Yes, it is a psychological thriller, but it remains always so personal and intimate, and that is its true strength. It uses those three points of view to force the viewer into personalizing the occurrences, so the audience never feels a false note. It sets the rules, and it sticks to them. This is not a manipulative film, it is not a Lifetime disease-of-the-week film. This is a script which works, and it is well-acted and well-directed.
Yes, Margo Martindale's performance is spot on, evoking just the right amount of pathos without ever asking for it. But, much less obvious is the acting display put on by Hanna Hall, as the victim of the rape. It is only upon reflection, after the stunning climax, that one realizes the depth and truth she has brought to the role. The entire cast is excellent.
Congrats to Zack Parker, director, for a terrific film. One which truly has no equal sides.