The Lies We Tell Ourselves

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.

This movie checks all the 'Eligibility Criteria' to make you 'P your Pants'.

Needing nothing more than a confronting title to peak my interest, Saara Lamberg's "The Lies We Tell Ourselves" was a fever dream experience reminiscent of Mulholland Drive by David Lynch. The interactive concept of an answer board made it a much more immersive experience rather than just a viewing. A telescopic view of the human mind, existence, everything and nothing... However, replace the telescope with a kaleidoscope and you will get a peek at "The Lies We Tell Ourselves".

Not everyone is going to understand this movie but the ones that doing are going to EFFING LOVE IT!

The Lies We Tell Ourselves is a unique visual experience and work of creative self-expression composed of fragmented pieces forced together that will either resonate with the audience or not. Regardless, it is certain to leave an impact. After watching the film and observing Saara Lamberg interact with an audience during a Q&A, I had to sit with the film overnight and take the time to unpick my thoughts. Instinctually, I found the work to be wholly evocative, but the exact feelings it provoked required a little more effort to decipher. So often in cinema, we understand the images before us through generic codes and conventions, suspending our disbelief in fiction and aligning our knowledge with facts presented in a documentary. As a mockumentary or work of fact-tion (fact and fiction) as Lamberg jokingly self-described the film, it completely disregards the expectations we have of cinema, culminating in something simultaneously challenging and stimulating.

The film is not quite a narrative but rather a tableau of the creative process during its various stages. It addresses the highs and lows of an artistic and free-spirited yet highly manufactured and deceptive existence through depictions of interactions with friends, colleagues, therapists, seedier industry individuals and above all, the self. With so many experiences shown, it is practically impossible to keep from getting lost within these nonlinear scenes but as the runtime progresses, this seems to matter less and less as this sense of being lost actualises into something enjoyable. The film is not without a grounding structure, utilising title cards to carry the viewer through the scenes. These felt particularly effective and induced interactivity, driving home the film's thought-provoking and humorous nature via truth or lie questions. While occasionally the pacing felt like it was dragging, Lamberg consistently remained one step ahead of the audience, addressing this potential boredom before the point of awkwardness. Consequently, the film mimics the nature of life itself, sometimes slow, sometimes repetitive, sometimes uncomfortable but often full of beauty.

Overall, The Lies We Tell Ourselves is a window into a mind that not even the occupant fully comprehends and that quality is what makes it so enticing. Lamberg, in her performance, is equal parts character and undeniably human, vulnerable and witty, messy yet charming. These attributes bleed into all aspects of the production, from the directing to the editing. The editing feels particularly noteworthy for its humorous deconstruction of the process, commenting on its tedious nature in a tongue-in-cheek manner, sure to strike a chord with those who have undertaken editing projects themselves. However, through its open addressing of the technical aspects of the film, it can make the piece more challenging as it is incomparable to others that endeavour to hide these elements from the viewer. This contributes to a deeply original viewing experience that I would wholeheartedly recommend anyone to partake in at least once. Ultimately, The Lies We Tell Ourselves is a refreshing watch that is best enjoyed when no longer attempting to view it through a conventional lens and just letting yourself be immersed in the imagery and charm of its creator.

The film is a remarkable portrayal of the life of a budding filmmaker. Directed and written by Saara, who also stars as Saara, the film's protagonist. While the film has a playful tone, how it blends this with the themes presented makes me find this film having a deeply unique resonance with me. Which to me speaks to just how amazing Saara's talent as a filmmaker truly is.

The narrative takes viewers on an immersive journey through the trials and tribulations that filmmakers often face. In a playful humorous way, the film explores the struggles of securing funding, working with high profile actors, facing the questions from those around oneself and being constantly overlooked.

While overall playful and humorous in nature, the film does not shy away from the emotional challenges that many artists grapple with when feelings of uncertainty set in. It explores the inner conflicts and moments of self-reflection that one can endure where one starts to question their thoughts during uncertainty. This introspective aspect of the film provides a unique commentary on the nature of artistic creation and the emotions that can accompany it.

The themes the film presents are able to resonate highly with not just filmmakers and other artists but anyone else who has ever struggled in the pursuit of something seemingly farfetched, faced doubters/critics, or doubted their trajectory in the face of the non-black and white issues they face along the way.

In short, the authenticity of the journey of Saara in this film and the unique art-house style, makes this film a must-watch!

"The Lies We tell Ourselves" is a self aware but self irreverent film. Funny and moving all at once. A kind of mock biographical film about the blur that is an artist's life. A film that pulses light and not heat on a subject that refuses to be fully pinned down. A honest conversational toned film, with thought provoking and explorative glances at what it means to be an artist in a constantly evolving world. The all to real struggle of film making is expertly dissected. There's a humour in the face of adversity that make this a charming film. The no punchs pulled and great use of storytelling make this a film to be re-watched.