Catfish (2010)



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Titolo originale: Catfish–>
Genere: Documentario–>
Durata: 87–>
Nazione: USA–>
Regia:
  • Henry Joost
  • Ariel Schulman

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Scritto da:–>
Produzione:

  • Andrew Jarecki (regista)
  • Henry Joost (regista)
  • Ryan Kavanaugh (produttore esecutivo)
  • Brett Ratner (produttore esecutivo)
  • Ariel Schulman (regista)
  • Marc Smerling (regista)
  • Zachary Stuart-Pontier (co-produttore)
  • Tucker Tooley (produttore esecutivo)
  • Colin Wilhm (produttore associato)

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Musiche:

  • Mark Mothersbaugh

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Trama del film:

In late 2007, filmmakers Ariel Schulman and Henry Joost sensed a story unfolding as they began to film the life of Ariel's brother, Nev. They had no idea that their project would lead to the most exhilarating and unsettling months of their lives. A reality thriller that is a shocking product of our times, Catfish is a riveting story of love, deception and grace within a labyrinth of online intrigue. Written by Universal Pictures

Filmmakers Ariel Schulman and Henry Joost document a story involving Ariel's brother, Nev, a 24-year-old New York-based photographer, and Abby, from rural Michigan who contacts Nev via Facebook, asking for permission to make a painting from one of his photographs. Written by IMDb Editors

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1 Comment

  1.  

    Colin George said

    February 26 2012 @ 10:03

    "Catfish" is a difficult film to talk about without spoiling. The
    sensationalist trailer gives a deliberately one-sided peek at a film
    which is ultimately defined by its ending. Expectations should probably
    be mediated, however—"Catfish" isn't going to blow your mind. In fact,
    the outcome of this social networking mystery is rather
    straightforward, but no less brilliant for it. This is a film where
    palpable suspense cedes way to an unconventional and thought- provoking
    character study. Maybe the best introduction I can offer is that I
    really liked it.

    Arriving in a market practically gorged with tongue-in-cheek faux
    documentaries, it's initially difficult to take "Catfish" at face
    value. The story begins innocuously enough; Yaniv "Nev" Schulman has
    just had his first picture published in the New York Times when a
    package arrives at his office containing a painted replica of the
    photo. The artist is a 12 year- old admirer, and her correspondence
    begets a peculiar Facebook friendship. As Nev becomes involved with her
    and her family, however, he begins to notice certain inconsistencies
    with the perfect lives they lead online.

    Much of the build-up feels stagey, and surely something is amiss,
    because either filmmakers Henry Joost and Ariel Schulman are
    considerably more talented directors than they portray themselves as,
    or they are not being entirely forthcoming. The prevalence of the
    camera during seemingly random moments that become key scenes seems
    perhaps a bit too fortuitous, and the placement and framing of the
    shots themselves seem too precisely calculated to have been captured on
    the fly for this amateur guerrilla venture.

    Yet it doesn't matter in the slightest. "Catfish" is about calling our
    willingness to accept unsubstantiated information into question, and
    thus encourages a skepticism and natural inquisitiveness towards
    itself. The entire thing could be fabricated, and its creators have a
    built-in ace in the hole. Falsifying a non-fiction film about false
    identity could add a brilliant meta layer to the puzzle.

    That being said, I don't believe that Joost and Schulman invented the
    whole thing. Somebody get these guys a pen and paper if they did.
    Rather, I tend to identify with the prevailing online rumor that
    suggests the ending was shot first, with some or most of the first half
    consisting of retroactive reenactments. But though I question the
    authenticity of certain moments, whether or not they are genuine seems
    beside the point—"Catfish" is an effective film.

    The foundation of that success lies in its solid technique. The gradual
    rationing of information and the introduction and unraveling of the
    central mystery is surprisingly well handled. The plot is obtuse and
    intense when it needs to be, and the suspense is so potent that some
    have even been let down that it never becomes an all-out thriller.

    But suspense has the tendency to be undervalued in an of itself, and
    the suspense in "Catfish" is an exceptionally executed, integral part
    of the ride. The film, on the whole, works not only because of its
    moments of seizing, visceral tension, but because of the greater
    message it evokes. In hindsight, scenes like those exploited in the
    trailer featuring Nev and his buddies arriving at a quiet farm in the
    dead of night seem downright silly when compared to where they
    eventually end up.

    "Catfish" has been getting a ton of very positive press recently, and
    it deserves much of the praise it's received. But backlash follows hype
    like a shadow, and I have a feeling that those swayed into seeing the
    film who might not have otherwise will enter with unrealistic
    expectations. It is a fascinating, offbeat experiment, but it still
    appeals to niche interests. The extent to which we let ourselves
    believe that the internet is a direct extension of our preceptory
    senses can be dangerous—But I'll say no more. I don't want to spoil
    anything.

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