“Am I a good person? Deep down, do I even really want to be a good person, or do I only want to seem like a good person so that people (including myself) will approve of me? Is there a difference? How do I ever actually know whether I’m bullshitting myself, morally speaking?”
― David Foster Wallace, Consider the Lobster and Other Essays
When is it ok to lie? Is it ever? What about those seemingly harmless little fibs we’ve all passed off as the truth once in blue moon as not to make a bad impression, to avoid insulting someone, or to shield a loved one from unnecessary grief? Are those ok? If so, where does the line begin to blur between good intentions and plain deception?
There could be a whole sub-genre of documentaries devoted to this question. Most of Errol Morris’ oeuvre is devoted to the notion of self-deception and its explication across the ripples of personal and political catastrophe, while countless other filmmakers peel back the falsehoods and fabrications of those looking to leverage their way up social ladders the world over, such as in Alex Gibney’s THE ARMSTRONG LIE, where former biking world golden boy Lance Armstrong’s long denial of using performance enhancing drugs to become the biggest name in the history of the sport is stunningly shattered. Or on a smaller scale, the ruthless door-to-door bible salesman of the Maysles Brothers’ vérité classic SALESMAN exploit low-income families by bending the truth to make that all important extra buck.
Somewhere in between is ART AND CRAFT’s art forger Mark Landis, who duplicates masterworks and donates them to museums for the sheer satisfaction of duping the pros into believing they are authentic. There is certain fear induced adrenaline rush one experiences when attempting to pull the wool over one’s eyes, as there are no guarantees and success only comes with skill. Henry Joost and Ariel Schulman’s CATFISH plays with this notion of thrill seeking through baiting potential lovers via the digital divide. In the age of the internet, one’s identity can be almost wholly invented, while the truth is merely an option to dole out only if completely necessary. Is this entertainment or self preservation?
Some films, such as Vikram Gandhi’s Indian guru hoaxing KUMARÉ, employ deception as a means to greater, altruistic enlightenment. But lying, even with good intentions, is inherently malicious. When the truth finally comes to the fore, feelings will be hurt and trust, no matter how intimate, will be shattered. No films deal with this idea more intimately than Sarah Polley’s STORIES WE TELL, in which the filmmaker’s own mother purposefully obscured her bloodline for the sake of protecting the immediate family unit.
Were these people right in attempting to pass off untruths as gospel? Does this make them a bad people or do their intentions exonerate them? These six films play with the idea of lying and the trick balance between decency and deceitful. Are you a good person?
KUMARÉ is a documentary about a man who impersonates a wise Indian Guru and builds a following in Arizona. At the height of his popularity, the Guru Kumaré must reveal his true identity to his disciples to unveil his greatest teaching of all.
The Armstrong Lie
Sports legend Lance Armstrong’s improbable rise and ultimate fall from grace. Using interview footage from before and after Armstrong’s doping admission, THE ARMSTRONG LIE explores one of the biggest lies in sports history.
Stories We Tell
STORIES WE TELL is a highly original documentary that explores how we construct our own reality through stories. Sarah Polley’s family and friends weave different narratives into a complex portrait of her mother who died when Sarah was eleven.
Art and Craft
Beginning as a cat-and-mouse art caper concerning one of the most prolific art forgers in U.S. history, ART AND CRAFT is rooted in questions of authorship and authenticity, eventually giving way to an intimate story of mental health and the universal need for community, appreciation, and purpose.
SALESMAN follows four door-to-door salesmen that walk the line between hype and despair as they ply across the American Northeast and Miami trying to sell expensive Bibles to low-income families.
In this tale of electronic attraction, love, deceit and forgiveness, the dark reality of how far one woman was willing to go to soothe her emotional aches and pains is unearthed, and CATFISH asks the question: what exactly can we trust in this age of virtual connections?