In the last year since its debut at the Sundance Film Festival’s Spotlight section, filmmakers Henry Joost and Ariel Schulman have spent some of their time basking in the overwhelmingly positive reaction to CATFISH, but most of their time defending its veracity. CATFISH documents the relationship between Schulman’s brother Nev and Megan, a girl he…
I saw the nonfiction film CATFISH last week and it was the first time in a good long while that when the lights came up, I looked around … and I said out loud, “I loved it.”
Cinema, cinema, cinema. AO Scott said the movie looks like crap and is ethically suspect, and guess what? He’s wrong. New York Magazine said it’s a scam and guess what? Who cares! It’s an incredibly compelling story, real or imagined. And isn’t that the point? Our real and our imagined selves, due to media saturation, are getting closer and closer together; they’re overlapping, so that lives are part performance, part “time off” (that’s the “real”). We perform for Facebook; we perform because someone in the room just turned on a video camera. We perform. That’s not news; we humans have been doing this forever. It’s simply more prominent now that social networking provides the 24 hour stage. THAT’s the point, not where the film falls on the scale of “real.” But I digress.