Seduction is the name of the game in Red is the Color of, the feature writing and directorial debut by Anne Norda. The film, which recently won Best Feature Film at the La Femme Film Festival, spins a tantalizing tale about a love triangle involving a husband and wife, both artists, and the husband's model, a sexy, manipulative young woman who plays head games with both of them.

Mary Shaw (Irina Björklund) is a successful artist known for painting with her own blood; her art has spawned a cult of followers who call themselves the "Bloody Marys," who have an unsettling habit of stalking Mary outside her studio and her home. Her husband, David Stellar (Peter Franzen) is also an artist, albeit a less successful one. And like a lot of marriages where the wife is more successful than the husband, David's unspoken, perhaps unacknowledged (even to himself) resentment of his wife succeeding while he struggles forms a powerful undercurrent beneath the surface of their marriage that's threatening its very foundation, although neither of them have yet realized it.

As can sometimes happen when once-happy marriages start to hit roadblocks that threaten their serenity and stability, an outside force comes along to shake things up ... in this case, in the form of Julie (Eliza Pryor Nagel), a blond beauty who looks the picture of innocence, but is really anything but. Julie has her own motivations for playing with Mary and David's marriage, and none of them have anything to do with keeping the couple intact. Julie begins her game with subtle flirting with David, which grows increasingly not-so-subtle over time. David's loyalty to his wife and his attraction to Julie are dueling contradictory forces within him; once David is caught her her spell, Julie ups the stakes by flirting with Mary.

categories Reviews, Cinematical