Any actor would probably profess that a large part of their creative process involves spilling a truth to their audience. But how many would consider themselves prophets? What lengths would they go to preserve the authenticity of their performance? Act One makes chilling statements about the dangers of trust and corruption, taking method acting to a disturbing extreme. Ari Graynor, who did exceptional work in Monsters: The Lyle and Erik Menendez Story, stars as the morally murky “versatile artist” leading a ridiculously strict actor’s studio. With a trio of compelling performances in its orbit, Act One is an unnerving thriller where the line between performance and reality becomes dangerously thin.
For seventeen-year-old Hannah (Ella Beatty), acting is her entire life. Her mother doesn’t understand, and Hannah’s father is too wrapped up in arguments to have time for her. Even at school, Hannah faces rejections—there’s always someone blonder or more popular to steal the spotlight. The promise of fulfilling her potential as an actress drives Hannah to Act One Studios, run by the domineering Melanie (Ari Graynor). At first, Melanie’s class seems like it will be a perfect fit as Hannah continues her senior year.
Before long, Melanie’s techniques become a little concerning. For starters, she seems to have paired Hannah with the much older (and very cute) Henry (Nate Mann) on purpose. But Melanie’s manipulations run deeper. The script explores her complexities not as a textbook villain, but as a conniving leader not unlike one that would be found at the center of a cult. She knows how to compliment and reinforce an individual’s uniqueness. Melanie also pushes her students to extremes, demanding what she claims is the best out of them. Yet, in both montage and intimate close up, Melanie appears to get a charge from the Frankenstein creature she brings out of others. They will follow her every whim, so desperate to satisfy her ego that they are willing to leave their own existence behind entirely. This prospect is probably the most unnerving element of the film, especially where Hannah is concerned.
Ella Beatty certainly delivers a star-making turn as Hannah. Hannah’s characterzation almost rejects the trope of the ponytail with glasses that changes a girl’s appearance, and thus, has an instant affect on her popularity. Though Hannah gains a newfound sense of confidence over the course of the runtime, her character next becomes a Plastic, never reclaims the respect or admiration from her peers at high school. The Act One Studios play becomes the only thing that matters to her. She fully commits to the bit with Henry as they become practically entangled. Act One builds to a satisfying climax as Beatty delivers a final poignant monologue.
Act One may be one of the best surprises from this year’s Tribeca Film Festival. Its relevant commentary on groupthink and sheep mentality feels grossly relevant. The players will do anything to remain in Melanie’s good graces. For fine tuning its tension to the razor sharp script, there is plenty to admire about this sublime, female-driven feature. Will it be worthy of applause, one that exposes the truths Melanie so longingly searched for? For this viewer, it truly works. From writer/director Sophia Takal, Act One voraciously explores the darker side of embracing one’s craft… at any cost.
Act One debuted at 2026’s Tribeca Film Festival.
