Catfish

Reality is a subjective concept, even more so in documentaries. Dubious editing and an agenda can easily transform the way we see events. But this American film has caused a cacophony of controversy, with manifold critics, including Supersize Me director Morgan Spurlock, alleging it to be the stuff of fiction. Prior knowledge of the film’s polemic past won’t quite spoil the viewing experience, but it did make me constantly reflect on Catfish’s genuineness.

It tells the bizarre story of New York ballet photographer, Yaniv ‘Niv’ Schulman, and his unlikely internet relationship with a prodigiously talented eight-year-old artist and her family. When he receives a mysterious package containing a painting of one of his published photos, he discovers it has been sent to him by preteen Abby. Yaniv’s documentary maker brother, Ariel, and his business partner, Henry Joost, decide to film the younger brother and see what happens. Over the course of several months and following the exchange of more packages, Niv starts a flirtatious and innocent relationship with the attractive musician sister of Abby, through Facebook, instant messenger and other digital means.

The far-fetched proceedings undergo a dramatic change-of-gear when the trio make a trip to Colorado ski resort, Vail, to film the dance festival there. They see the break as the perfect opportunity to visit Abby and her sister at home in rural Illinois and make the trip to her house. Without wishing to give anything away, it is here that the film undergoes a sea change and becomes something altogether more sinister. Nothing is exactly as it seems and, whether it is fact or fiction, the action is mesmerising. Perfectly paced and structured (some would say too perfectly), the film reaches its dénouement with a WTF moment worthy of anything in recent cinematic history.

And yet the nagging doubts remain: true or false, cynical exploitation or snide opportunism? The lyrical, metaphorical anecdote which lends the film its title is especially suspicious. Aside from that, there is one gratuitous scene that clearly transgresses all boundaries of good taste and serves no real purpose, illustrative or otherwise, and ought to be remarked upon. That said it is essential viewing; for, whichever way one looks at it, it as a great deal to say about cyber-relationships, trust and the world we live in. One of the year’s best documentaries, it is sure to keep you talking afterwards. Just don’t mention Skype.