Brian DeCubellis’ “Trust” is set up like a stacked row of dominoes around a cheat and scheme over a supposed affair. Brooke (Victoria Justice) is a new gallery owner with an exciting new artistic discovery, Dublin painter Ansgar (Lucien Laviscount). Brooke relies on Ansgar’s bold and provocative hues to grab the attention of the art world. With a smoldering character and a habit of painting nude images of his old flames, Ansgar immediately invites Brooke’s husband, Owen (Matthew Daddario). A successful reporter in his own right, he feigns support while barely hiding his doubt about the attractive artist. But Brooke has her own suspicions about her boyfriend, especially after seeing him receive cryptic texts from young press assistants at work. And that’s before Owen crosses paths with Amy (Katherine McNamara), a flirtatious blonde who really complicates the story.
Although “Trust” starts off badly, once the players are introduced and the flirty game is underway, it is an mostly fun race. The film hints at things that may or may not have happened, leaving audiences to guess and wonder who is cheating on whom. The film also plays with its narrative timeline, dual support for past events and showing small gestures and clues in a new light. This light is also provided by cinematographer David Tumblety, who gives the New York scenes in the film a glowing neon glow at night and contrasts them against the crisp white walls of Brooke’s Gallery, the studio’s studio. dark information where Owen works and the gray sky days when Brooke and Amy meet. It’s a subtle nod to how the characters feel back then, like when Owen and Amy meet at a bar and the scene turns unusually blue and alluring at first glance. When the moment is revisited from a different perspective again, it’s more distant, less like an inviting commercial and more like an easily gullible cat-and-a-mouse game.
“Confidence” can be captivating until its tough times of martial dialogue and half-reflected logic. Some lines just don’t ring true, some visuals look silly, and some explanations leave the viewer with perhaps more questions than answers. DeCubellis, KS Bruce, and Kristen Lazarian’s script draws inspiration from Lazarian’s play, and perhaps that’s why the interpersonal tension between Brooke, Owen, and their potential alliances works so well when they’re the center of attention. The most cinematic renditions of the play don’t always stick to the landing, like a Christmas showdown between the couple playing out on the streets of New York City. Namely, a block or two from Radio City Music Hall, whose cameo threatens to overshadow the relationship drama in the film’s climax. It takes up almost as much screen space as the couple we’re supposed to focus on. There are a few of those New York City vacation plans that try to play the tragedy of the moment, but end up looking more distracting than dramatic.