Saara Lamberg's The Lies We Tell Ourselves is an improvised, re-enacted, fly-on-the-wall true-mockumentary romp through her journey of independent filmmaking. Ever wonder how anyone makes a film with no budget? By the roll of credits, you'll be astounded that such a thing has ever happened at all.
The success of Saara's feature has her jetting to film festivals, scrambling to secure the means to realise her next cinematic vision, and collapsing onto her therapists' couch. Cajoling established actors at Cannes is a hilariously grim exercise matched only in awkwardness by the efforts of non-actors to inveigle their way into her production.
A sleazy producer's attempt to MeToo her is played for- and gets- laughs, but the incident is a nod to the grim reality of the industry's view of how women may make themselves useful within it. Savvy enough to know any dalliance would certainly be followed by a rug-pull, Lamberg avoids this dead-end. Any impact on her dignity is blunted by the fact that it's simply another slight to toss onto the pile. The filmmaker's initiative, resourcefulness, and ability to assemble actors and crew eager to bring her visions to the screen with no budget is thrown back in her face via repeated rejections by a national film funding body that criticises her for being too prolific, wearing too many hats, and not paying anyone involved in her films.
How can she win? Well, she IS winning. She made this film while you watched, and the talent is undeniably there The quirks of her bare-bones production simply highlight what she'd be capable of if given the financial backing to do so. Her humour buoying every scene, Lamberg manages to have you laughing and groaning with her simultaneously in each scene. She's unafraid of taboo themes, can pull off big shots and her personal exposure is in service to story and exploration of human vulnerability. There are a few shocks, but Lamberg has a deft touch as she participates in some absurdist nude scenes that gesture archly at the kind of exploitation that gets hailed as genius when it's done with a big budget... by an established, well-supported director.
If you've ever seen a film at all, this is a film you'll enjoy seeing. Thankyou Saara Lamberg for your indefatigable efforts in getting your loopy, delightful visions of the darkness of living and feeling onto the screen. Can't wait to see where you art takes you next.
The success of Saara's feature has her jetting to film festivals, scrambling to secure the means to realise her next cinematic vision, and collapsing onto her therapists' couch. Cajoling established actors at Cannes is a hilariously grim exercise matched only in awkwardness by the efforts of non-actors to inveigle their way into her production.
A sleazy producer's attempt to MeToo her is played for- and gets- laughs, but the incident is a nod to the grim reality of the industry's view of how women may make themselves useful within it. Savvy enough to know any dalliance would certainly be followed by a rug-pull, Lamberg avoids this dead-end. Any impact on her dignity is blunted by the fact that it's simply another slight to toss onto the pile. The filmmaker's initiative, resourcefulness, and ability to assemble actors and crew eager to bring her visions to the screen with no budget is thrown back in her face via repeated rejections by a national film funding body that criticises her for being too prolific, wearing too many hats, and not paying anyone involved in her films.
How can she win? Well, she IS winning. She made this film while you watched, and the talent is undeniably there The quirks of her bare-bones production simply highlight what she'd be capable of if given the financial backing to do so. Her humour buoying every scene, Lamberg manages to have you laughing and groaning with her simultaneously in each scene. She's unafraid of taboo themes, can pull off big shots and her personal exposure is in service to story and exploration of human vulnerability. There are a few shocks, but Lamberg has a deft touch as she participates in some absurdist nude scenes that gesture archly at the kind of exploitation that gets hailed as genius when it's done with a big budget... by an established, well-supported director.
If you've ever seen a film at all, this is a film you'll enjoy seeing. Thankyou Saara Lamberg for your indefatigable efforts in getting your loopy, delightful visions of the darkness of living and feeling onto the screen. Can't wait to see where you art takes you next.