Triste (film)

[1] In an effort to make use of footage he had shot as far back as the 1970s, Dorsky began editing the film in 1990 and spent five years assembling it.

It helped establish the film form Dorsky has used in his subsequent work—a polyvalent montage built from unobtrusive shots showing everyday scenes.

[4] It established the format which Dorsky has continued to use in his later work: silent films around 20 minutes long shown at 18 frames per second.

[1] Triste shows Dorsky moving away from artifice, and he joked that its black-and-white shots marked it as his "last avant-garde film".

In this approach, the sequence of images does not settle on a common subject or theme; instead, it suppresses anticipation and expectation by continuing to introduce new individual shots.

[7] Dorsky continued to refine his editing style in Variations, gaining more experience with how to integrate recognizable images into an open-form montage.

[2] In a review for The New York Times, Stephen Holden wrote that Triste "compiles a vision of the world that pulses with a vague but compelling sense of melancholy.