‘The Lies We Tell Ourselves’ is a delightful meta mockumentary spiked with tragedy, comedy, satire and self-reflection. Written and directed by Finnish-Australian filmmaker Saara Lamberg, she accurately and sometimes heartbreakingly analyse the pitfalls and injustices of the industry whilst reflecting on her own body of work and self as a filmmaker and person in the modern world.
An eccentric director on the rise travels to Cannes, Berlin, New Caledonia, Australia and England to create her latest art house film and jumps many entertaining hurdles before realizing her vision.
The 90 minute journey – more of an absurd wild ride – is entirely improvised, outlining the struggles of the indie film industry from a cinephile inside point of view. Peppered with hilarious self deprecating statements from the filmmaker herself which only adds to the madness and force you to sit back and enjoy the ride – “I do hope you’re not expecting something that makes sense because you’ll be duly disappointed.” The film takes place over various time periods, some of which cannot be ascertained, and includes footage from her time in Cannes, travels abroad as well as scenes closer to home. Locations are amazingly varied, from rooftop bars and super-yachts, then back to their own flat. Saara swaps between cinéma vérité, black and white classics and a plethora of other techniques reflecting her own love and understanding of cinema. If ever you feel a scene starts to get long, something new comes and grabs you at every beat.
There is a repetition of key scenes, characters and motifs. Saara examines the truly confusing and needless barriers facing independent filmmakers when looking for essential funding, the volume of people who might only engage with you when they want something from you, and how you can lose yourself within. All of these are big subjects in themselves, yet ‘The Lies We Tell Ourselves’ deals with them in a nuanced, beguiling and down-to-earth manner which I really appreciated.
One key element I must draw you to is Saara’s condemnation of the way in which women are treated. The Me Too movement unfortunately doesn’t mean this is no longer an issue and at various points in their film, Saara shines a light on the obnoxious injustices and unfair treatment dealt with by women throughout the industry and life in general.
Is Saara playing herself or versions of? Maybe we don’t need to know, but that is certainly a question that comes to the forefront. As much as I have revelled in her treatment of and humorous evisceration the industry, she also plays with the audience and has created a truly enjoyable piece. The film isn’t for everybody – which in my opinion is refreshingly commendable. A reviewer within the film, when shown a proof of concept, is quoted as saying: “I hate to love it, like Gorgonzola popcorn.” I love gorgonzola popcorn.
Rocks Festivals Blog 