Diane Lane, Tim Robbins, James Gandolfini, Patrick Fugit, Kathleen Quinlan, and Thomas Dekker. Cinema Verite tells the story of the Loud family, whom, in 1973, were selected as reality television’s first family for a new series called An American Family.
Years of dealing with Kardashians has established a distinction between content and truth on reality TV. This opening scene creates the illusion of the perfect family, they flip burgers, swim in their pool, and enjoy the California sun.
Pat immediately feels blocked by the cameras, unable to escape the public’s now prying eyes. While the artifice feels tenuous in the film’s first act, with the script leading things in such an obvious direction, the story, performances, and direction overpowers it. Thomas Dekker suits up for the premiere of Cinema Verite on Monday (April 11) at the Paramount Theatre in Hollywood. Its subject, the filming of the first reality TV series, An American Family, shows how people react to the camera, and the levels of truth in front of and behind it. After Gilbert eases them into the production, the shoot starts with Pat’s New York trip to see her eldest son, Lance (Dekker).
Things get more interesting when Lance introduces himself by basically coming out to all of America.
Pat learns the problems with reality on day one, but her husband creates a whole new world of them.


When Tim Robbins acts as Bill Loud, he does so for the fake cameras held by Patrick Fugit’s, as well as Berman and Pulcini’s camera. Like a reality show, the drama is so well contained and structured that too look away is to miss the train-wreck.
The first, a look at the making of Cinema Verite is nothing more than a commercial, a preview for the film you probably just watched.
The film treats us to a bit of footage, but the convincing dramatization and comparisons make one pine for the original.
A cette occasion le Procureur a pu sensibiliser le public et les médias autour de la question des criminels de guerre. The way the actors and directors negotiate time in front of fake cameras and real ones sets Cinema Verite apart, questioning the interpretations of what the viewer sees on screen. Producer Craig Gilbert (Gandolfini) assures their privacy, and his artistic integrity, by creating a relaxed atmosphere for the family, particularly mother, Pat Loud (Lane). It’s here that the film show’s its own artifice, interests, and begins grabbing the viewer. It’s a fascinating technique: The performances give the film its heart and the directors give the film its art, which is exactly what Craig Gilbert attempted to create. The production feels fake, but Pat and Bill’s failing marriage feels real, because it was real.
As the commentary continues, they discuss the directors’ process, as well as the implications of editing and acting for camera in an age of reality take over.


Ne cautionnant pas le nouveau pouvoir, il choisit de quitter son pays et va se réfugier au Canada avec sa famille. Surrounded by cameras 24 hours a day, they must learn to control their emotions or reveal them to viewers tuning in. Opening on a television playing clips of the real American Family series, before being moved out of the frame by Tim Robbins’ eerie Bill Loud simulacrum, the film reminds us of its own falseness almost immediately. The directors stage Pat’s arrival in front a rear projector, giving the film a false style.
He’s both cognizant of the camera, asking Alan Raymond to shoot his romantic gestures, and ignorant of it, flirting with his neighbors on camera. The family’s issues could not be stripped in the editing room, showing that the longer one spends in front of the camera, the more they reveal of themselves.
It’s an interesting commentary, but would probably make a more interesting, more focused interview. The camera pans out on editors constructing the story, setting up a film that attempts to mimic moments from the show, but also explicitly separate the real from the fake.
This continues when she gets out and meets her film crew, Alan and Susan Raymond (Patrick Fugit and Shanna Collins), who tell Pat to ignore the cameras and act naturally.




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