Dir: Bart Layton
Occasionally, a film comes along that I strongly recommend others to see, but with the caveat that they don’t attempt to read anything about the film’s plot beforehand. Recent examples have included Capturing The Freidmans, the exquisitely disturbing documentary uncovering a suburban sex scandal; and Catfish, the Facebook generation’s twisted road trip with a difference. The Imposter should certainly be seen as another of these movies. Its unbelievable premise, gripping plot and spectacular thematic exploration leave you having to remind yourself that you are watching a documentary, and not a sophisticated crime thriller.
The Imposter focuses on the story of Frédéric Bourdin, a dark 23-year-old Frenchman who, in 1997, successfully convinced a Texan family that he was their missing blonde, blue-eyed, 16-year-old son. Through interviews with Frédéric and the boy’s family, as well as dramatic reconstructions, The Imposter explores a truly fascinating story of deceit, suspicion, loss, and the desire to be loved.
It is not just the events in the film that are so compelling, but also the prowess with which debutant director Bart Layton and cinematographers Lynda Hall (Dreams Of A Life) and Erik Wilson (Submarine, Tyrannosaur) capture the emotion of those involved, and spectacularly recreate the gaps in the subjects’ stories. The dark visuals, smooth match cuts and aching soundscapes make it impossible not to invest and empathise with the people on screen. Yet, within this web of lies and questions, the notion of truth is constantly fleeting, and as the story unravels it becomes increasingly difficult to trust and believe what is presented on screen.
Regardless of how you feel leaving the cinema, The Imposter is an incredibly well executed film, which is guaranteed to engage every member of the audience before leaving them desperate to discuss and discover more.
10/10