Triple Fisher: The Lethal Lolitas of Long Island

In the film "Triple Fisher: The Lethal Lolitas of Long Island," we are immersed in a world of suburban New York, where the lines between reality and fiction become blurred. At its core, this movie is a reimagining of the infamous Amy Fisher case, which captivated the nation in the 1990s. With a narrative that is part Rashomon, part meta-recreation, and part social commentary, director Dan Kapelovitz crafts a unique cinematic experience. The story begins with a dramatic monologue delivered by a narrator, who claims to have been tasked with creating a movie about the Amy Fisher incident. This framing device provides a sense of detachment, as if the events that unfold on screen are being filtered through multiple perspectives. This is fitting, considering the multiple made-for-TV movies that have already been made about this topic. Kapelovitz takes a different approach, using found footage as a storytelling device to bring the various narratives into one cohesive tale. We are presented with a series of interconnected scenes, each one depicting a different side of Amy Fisher's story. In the first segment, a teenage Amy (played by Lily Brooks O'Briant) is introduced as a precocious and seductive Lolita figure. She charms her way into the life of Joey Buttafuoco (played by Michael Rapaport), a married man who is drawn to her innocence and vulnerability. Their relationship evolves quickly, with Amy becoming increasingly dependent on Joey for attention and validation. Meanwhile, Joey's wife Amy (played by Emily Browning) is shown as a desperate and lonely woman, struggling to connect with her unfaithful husband. She becomes a symbol of the repressed emotions and pent-up resentments that can simmer beneath the surface of seemingly ordinary suburban lives. As the narrative unfolds, we see multiple iterations of the same events. Amy (the protagonist) shoots Joey's wife in the face, but the circumstances surrounding this act vary from one version to another. Some portrayals depict Amy as a cold-blooded killer, while others suggest she was driven to madness by Joey's deceit and manipulation. Each version adds its own layer of complexity to the story, creating a sense of ambiguity that keeps the audience guessing. Throughout the film, Kapelovitz employs a range of techniques to blur the lines between reality and fiction. Characters frequently break the fourth wall, addressing the camera directly and commenting on the artifice of the movie-making process. This self-aware approach serves to underscore the notion that truth is subjective and that stories can be manipulated to serve different agendas. One of the most striking aspects of "Triple Fisher" is its commentary on the voyeuristic nature of modern media. The film is a scathing critique of the way the Amy Fisher case was sensationalized by the press and the public, with her private life splashed across tabloid headlines and magazine covers. By presenting the events of the story through multiple perspectives, Kapelovitz highlights the inherent bias and manipulation that can occur when we seek to consume and share stories about real people's lives. Ultimately, "Triple Fisher" is a thought-provoking and visually striking film that challenges viewers to think critically about the way we consume and interpret true stories. By combining elements of Rashomon, meta-recreation, and social commentary, Kapelovitz has created a unique cinematic experience that rewards close attention and reflection. This is a movie that resists easy summarization or analysis, instead inviting audiences to engage with its complexities and ambiguities on their own terms.