Tiff Review: ‘White Lie’ Finds an Acute Sense of Place Amidst an Elaborate Scam

If a certain trend has emerged within the past half-decade of indie films, it’s the cinema of the grifter; very small-scale titles like Joel Potrykus’ Buzzard or Adrian Murray’s Withdrawn charting millennial malaise manifesting into economic malpractice. These films seem like a true meeting of form and content, as the desperate measures that come from living in a late-capitalist hellhole and the emaciated filmic settings of many low budgets perfectly complement each other. And White Lie, a film predominantly taking place in septic waiting rooms and halls with life-changing decisions depending on convenience store Atm machines, convincingly depicts a world in which one would take drastic measures. If anything, it’s a film deserving of serious praise for capturing how truly depressing Ontario can be in the wintertime–Hamilton’s landscapes haven’t been so vividly rendered since Olivier Assayas’ Clean.

Occupying this dead setting is Katie (Kacey Rohl

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