Review: ‘White Lie' (2021)

There is no shortage of kinetic energy; at just a little over an hour and a half, you’ll be left wondering as to which lie will finally break the loop as the story twists and turns with Katie’s emotions. Rounded out by an excellent cast and an utterly

★★★½

R - Drama (96 minutes)

“Katie Arneson is faking cancer. A university dance major, Katie’s falsified diagnosis and counterfeit fundraising have transformed her into a campus celebrity surrounded by the supportive community she’s always dreamed of: a close-knit group of friends, security in her academic pursuits, and a caring relationship with her girlfriend.”

— Official Synopsis

Kacey Rohl stars in a riveting tale about a college undergraduate whose inherent obsession with lying jeopardizes her most important relationships. Written and directed by Yonah Lewis and Calvin Thomas, White Lie delivers on the concept of turning a string of [morally reprehensible] lies into a sprawling, lively thriller. There is no shortage of kinetic energy; at just a little over an hour and a half, you’ll be left wondering as to which lie will finally break the loop as the story twists and turns with Katie’s emotions. Rounded out by an excellent cast and an utterly unfathomable premise, White Lie is relentlessly persistent in delivering a piercing experience.

Katie is a complicated anti-heroine, but Rohl’s delicacy with the character is pure bliss. She knows precisely which beats to hit — and when. Katie’s antics and compulsive behavior could have been over-cooked and largely unfocused, but Rohl, at the very least, seems to understand Katie. Her character is not only smart, but dedicated — solidifying the believably that Katie is able to manipulate every situation and every person (except her father, of course). Even as Katie’s actions shatter the audience’s support for her, there are a couple characters that stand out: Martin Donovan (Doug Arneson) and Amber Anderson (Jennifer Ellis). They serve as the emotional epicenters of White Lie. While the audience is Katie’s only honest companion (as her true intentions are revealed to them immediately), it is her father and girlfriend through which the audience can align themselves with. Donovan and Anderson, specifically, supply nuance and a sliver of humanity to the film.

Certainly, Rohl is largely responsible for carrying the film to its thrilling heights, but Lewis and Thomas’ scripting is very poignant and reflective. It doesn’t judge Katie for her poor decisions and is, instead, more focused on the dramatic nature of every slip-up and failure she makes. Much of the film is shot at a medium distance and on a dolly, which is not typically common for this genre. Yet, Christopher Lew’s work behind the camera is in perfect tandem with the urgency of the story. Most shots remain at a distance from the action, but the subtle movements evoke a sense of voyeurism and anxiety. We aren’t supposed to be watching Katie when she is alone — or even when she is trying to dig herself out of the deep hole she buried herself in. In addition, Lev Lewis’ scoring is just as playful as it is pressing — and acute; requiring your attention to the finer details of each frame.

The big question that the film draws upon its viewers to ponder is why Katie has decided to put herself in this kind of situation. Most satisfyingly, though, it doesn’t demand a straight answer or even provide a complete, bow-tie ending. Instead, the film takes place over the span of just five days; the succinct timeline is adequate enough for an affectively rounded arc. Just short enough to avoid becoming tedious, but interesting enough to require your full attention. The few shortcomings of White Lie are contained within the dialogue and its repetitive nature. It seems that in nearly every scene Katie has with another character she is just asking for more and more — and that gag works in a couple sustained interactions, but not for an entire feature film. Thematically, however, this does raise some interesting questions and concerns: for instance, it administers a sense of skepticism in the viewer. Perhaps, it would have been even more effective if only it had been used less — giving Rohl some quieter moments to show the different sides of Katie.

If you still haven’t watched a movie in 2021 yet, this might be the best way to kickstart your cinematic experience for the new year.

Featuring TIFF Rising Star Kacey Rohl (Arrow, Hannibal), Amber Anderson (Emma., Black Mirror), Martin Donovan (Tenet, Big Little Lies) and Connor Jessup (Locke & Key), ‘WHITE LIE’ will be available from Rock Salt Releasing digitally on January 5th, 2021. You can find it on these digital platforms: DirecTV, Amazon, InDemand, iTunes, FlixFling, AT&T, Vimeo on Demand, Vudu, Fandango, and Google Play.