An Irish heiress becomes a prisoner of her cruel uncle and his twisted descendants in this suspenseful adaptation of J. Sheridan Le Fanu's classic Gothic novel. The lies we tell The novel deftly builds feelings of anxiety and tension before escalating into a horrific journey of sexual and psychological abuse. Your skin will crawl as the reluctant protagonist realizes the gravity of her situation. Not only is she trapped by her relatives, she is also a victim of the harsh restrictions of a patriarchal system on women. How can you cry for help when no one is willing to listen?
In Ireland circa 1864, on the lush estate of Knowle, 17-year-old Maud Ruthin (Agnes O'Casey) leaves the grave of her recently deceased father to attend an important meeting. Dr. Brierley (Mark Doherty) and Captain Elberry (Kieran Roche) They have been appointed as trustees of Maud's fortune but not as her guardian. That right belongs to her long-exiled uncle Silas. (David Wilmot), who was infamously acquitted of the murder of a gambler. Brierley and Elberry warn Maud to beware of him. Maud ignores their concerns. She is more than capable of handling her affairs on her own. Unfortunately, her uncle is a much worse man than she realizes.
A capable woman finds herself besieged by an evil family.
Maud, still sad, dressed in black and always with proper manners, welcomes her uncle, his son Edward, his daughter Emily, and her governess to Knowle. She is immediately disturbed by their cheerful demeanor. They soon feel at home and are amazed by the wealth of the manor. Maud is not pleased when Silas sits at her father's desk and begins reading the financial ledger. He tells her to stop worrying, that the young lady should act smart and not bother with business matters. Maud politely disagrees. She has no interest in being a person of distinction. Her father's money will not be mismanaged.
Maud recoils in disgust when Edward tries to playfully touch her. She also dislikes Emily's playfulness or her nanny who watches over her all the time. Maud senses suspicious intentions when Silas suggests a union with Edward. He is not pleased when she rejects the idea outright.
Director Lisa Mulcahy, a pioneer of Irish television production (The tourist, Ridley Road, red rockMaud is portrayed as independent and stubborn, but naive and completely unprepared for Silas's machinations. Maud dismisses Elbery's fears that she is a “prize” to be seized. Maud learns that she is surrounded by wolves and has nowhere to go.Her isolated life in Knowle has given her a false sense of security. Worse still, the people she thought would be her allies, her servants and maid, are complicit in Silas's scheme. She literally has no power in her home..
Beautiful environment turns into hell after disturbing abuse
The lies we tell It takes a dark and ugly turn in the disturbing second act.Mulcahy does not protect Maud from the violence that shatters innocence. These scenes are difficult to watch, but they achieve their disturbing purpose. Maud now knows full well what is at stake. There will be no brave hero to save her. She is not safe and must adapt to survive, but she risks further harm by going public. Maud must play the game on Silas’ level. Intellect and courage become her only weapons against a truly unscrupulous opponent..
Mulcahy does a wonderful job of turning Noll into a gilded cage. The film’s sinister elements are established from the start, but the level of evil is never readily apparent. Maud wouldn’t allow herself to be caught in Silas’s clutches if she had any idea what was about to happen. Mulcahy begins with dim lighting and an eerie soundtrack, but makes sure to cinematically capture the open spaces with wide camera angles. This point of view shifts dramatically as the walls begin to close in on Maud. The grandeur of Noel turns into a maze of endless doors, windows and corridors.Modi's understanding that there is no way out is coming in trickles, not floods.
Agnes O'Casey is great in a quick period piece.
O'Casey's performance was absolutely amazing.Maud must remain resolute in the face of the appalling treatment she has received. Losing control would play into the hands of her evil uncle. A hysterical woman could be confined to Victorian Ireland and subjected to terrible treatment. This would give Silas exactly what he desires, Maud's wealth and property. O'Casey pretends to be scared, worried, and angry, but she lets her guilty eyes speak volumes.Maud refuses to give in to what is rightfully hers. O'Casey is courageous and resilient through self-control and patience. She is excellent here and has a bright future in acting.
Related to
Best Gothic Movies of All Time
Cinema was practically born with Gothic horror, and this thrilling and enchanting genre of films has remained frightening and exciting to audiences to this day.
The lies we tell This film is a thrilling 90 minutes long. I was amazed at how quickly the narrative moved forward given the depth of its dark subject matter. Mulcahy and editor Veronica Kaminska deserve top marks for their pacing. It's rare for a movie set in a specific time period to go by without any delay.It must also be said that The lies we tell The film depicts sexual assault realistically and may be triggering for some viewers, but its handling of the subject is mature and important.
Lies We Tell is a co-production between Blue Ink Films, Embankment, and Fís Éireann / Screen Ireland. It will be released on VOD and digitally in the US on September 13 from Quiver Distribution. You can rent or buy it on platforms like YouTube, Google Play, Fandango at Home, and on Apple TV via the link below:
Watch the lies we tell
