From the Dogme-95 school of no-frills filmmaking to the split screen multi-narratives of Timecode, digital filmmaking has invited a variety of experimental styles, the less-successful of which have been a triumph of style over content. Director-writer-producer Duncan Roy’s addition to the canon is a split-screen triptych. His story of an impoverished youth who masquerades as an aristocrat’s son to move among higher social circles is presented with three simultaneous shots.
Where Timecode brought four narratives together onto one screen, AKA splits one narrative three ways, giving the viewer various vantage points into the same scene, more or less simultaneously. Roy’s process of division is more organic to the storytelling process than _Timecode_’s self-conscious experimentation and, as such, is more comfortable to watch. –Film4