The Lies We Tell Ourselves

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.

I can't imagine going to a showing of LIES and not meeting up with director Saara. She is a most unique and genuine individual. Watching her film gave me a feeling that some scenes were self-indulgent. On meeting Saara there is an understanding as to why you should feel that way. And while it is important that no two people leave the cinema having the same interpretation of LIES; I think the genius of it is the series of scenes depicting Saara in conversation with a version of middle-aged entitlement hoping to gain funding ... yes funding ... why shouldn't she receive money for a silly film???

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 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 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!