The Lies We Tell Ourselves

The Lies We Tell Ourselves is not your typical film viewing, but more an immersive experience into the often chaotic and always fascinating mind of the filmmaker. As I heard one audience member say, "This could only have been made by Saara Lamberg" and it is true. An impressive multi-hyphenate (writer-director-producer-actor), Saara's unique vision and presence carries the film. TLWTO is a funny and thought-provoking excursion through the trials and tribulations of the creative process, from constant rejections from funding bodies (one of the film's most hilarious and memorable sequences) to the filmmaker wondering who she has to sleep with to get her movie made. In the place of a linear narrative is layer upon layer of metatextuality with the director engaging directly with the audience and confronting their expectations of what a film should be. The deadpan humour and existential angst woven throughout is reminiscent of some of the great Scandinavian absurdist film directors... Roy Andersson particularly came to mind. Now if only the funding bodies would finally throw some support behind Saara Lamberg!

This film is an honest and authentic expression of what it's like to be an artist. The themes that are explored are introspective and left me with much to digest afterwards. Much like life, the essence of this film is not black or white. It is both and everything in between.

The constant reminder throughout the film is to ask oneself, "is that true? Is that false?" And "why do I think that?" Although the more prominent elements of the film centers a filmmakers life, the themes still apply to non artists as well. The type of questions this film invites the audience to ask themselves, helps one figure out who they are and how to live a life with integrity.

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!

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!