Truth be damned. Bursting from a fug of Birds Eye TV ads, shitty health and sunken projects, Orson Welles’ final film as a director was one last rabbit out of the hat: a definition-defying examination of trickery itself. Commandeering a BBC documentary about legendary art forger Elmyr de Hory, Welles shreds it into a subversive, self-indulgent cine-essay on “two world leaders in fakery”: de Hory and his biographer/fellow-faker Clifford Irving. Gatecrashing into the edit come Howard Hughes, Pablo Picasso and a fascinating dissection of reality, falsehood, bluff and narrative in Welles’ ludic comedy of secrets and lies.
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