AKA

With its enthralling sense of unpredictability and exploration of identity, deceit, and class difference, AKA is a cinematic offering that transports the audience into the world of a young man seeking to remake his life in a glamorous and dangerous world. The film, directed by Duncan Roy, offers an intriguing narrative thematic approach – it was originally screened in a triptych format (three simultaneous video presentations), offering different perspectives.

The film is set in the late 1970s in Britain, and stars Matthew Leitch as Dean Page, a working-class youth hailing from a painfully dysfunctional family. Dean exists in a world of raw, disconcerting bleakness, struggling with economic hardships and emotional abuse. Disenchanted by lower-class prejudices and burdened with familial issues, Dean yearns for an opportunity to shapeshift into a superior societal sphere where he can experience opulence first-hand.

In a bid to escape, Dean boldly assumes a new identity, becoming someone who is part of the affluent class. As Anthony Baekeland, a name stolen from a credit card Dean found, a whole new intriguing world of privilege opens up. However, with the sky-high stakes, impersonating a missing heir comes with its own set of perils and challenges.

His path first crosses with Lady Francine Gryffoyn, played brilliantly by Diana Quick, who takes an interest in this supposed member of a wealthy American family. This relationship anchors a significant part of the storyline, revealing the complexities and the pretentious nature of the glamorous world Dean yearns for. Quick's portrayal paints a compelling image of an aristocrat whose veneer of refinement cannot fully hide the trials she's faced.

George Asprey, embodying the role of Benjamin, brings to life another key character who significantly impacts Dean's journey. Asprey masterfully captures the essence of a man whose actions could reveal or protect Dean's deceptive façade.

Having talent such as Matthew Leitch, Diana Quick, and George Asprey, Roy entices the audience with deftly drawn characters caught in a cat-and-mouse game of deceit and ulterior motives. This is a gripping exploration of the relationship between the classes, the power of perception and acceptance in society, and the lengths to which people might go to escape their reality.

Moreover, AKA does justice to its period-setting with an impressively authentic production design. Audiences will feel as though they have truly stepped back into the 1970s with the rich portrayal of fashion, interior design choices, and the stunning European locations, from France to Italy, painting a vivid, atmospheric backdrop to the narrative.

In an exemplary display of aesthetic prowess, the triptych format leads to a captivating viewing experience, splitting imagery into three simultaneously playing shots – a daring and innovative storytelling technique for a film from the early 2000s. However, it is worth noting that this format, while stylistically unique, could be confusing for viewers, especially on smaller screens.

That said, AKA remains a thought-provoking and fascinating exploration of identity and deceit, intertwined with class conflict and a gripping narrative. Both the concept and the execution serve as perfect reminders of the impact of experimental filmmaking. Held together by fantastic performances and seeped in an atmosphere of escalating suspense, AKA serves as compelling proof that stories on identity and class struggle remain relevant and engaging.