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Todos mienten / They All Lie
 A group of girls and boys in their twenties settle in a completely isolated country house. The days pass on this nonchalant band of boys and girls, who drink, love, swallow pills, read, and tell stories they interpret. The farandole is organized around an absent character these young people seek to meet urgently unless they would rather swindle him. Avis du sélectionneur I must say that I was a bit lost at the beginning of They All Lie, whose title
in the form of a denunciation seems to mix up the issues, addressing all the
characters - all liars. A little lost, but immediately attracted to the straightforwardness
of the staging, its swaying movements, fluid precision, its in and
outs of the field of view, and the speech that gets to us by encasements, resumption,
re-echos, the feeling of having in front of me an exquisite corpse,
and slowly feeling dizzy, both visually and orally. Lost in the stories, the viewer
also feels lost in Argentina’s history, whose unwinding pace makes us feel how
much she (the country) secretly leads the game. If all this is a game whose
rules we don’t quite grasp, in his second film Matías Piñeiro juxtaposes a virtuosity
of staging that makes it all seem strangely clear. Something close to
«The New Wave and After» runs through They All Lie, that makes us remember
Jacques Rivette’s 70s, which almost by decree, had imposed their formal freedom
as the evidence of a secret, hidden under the perpetual motion of bodies
and words. The Argentine filmmaker makes his this proposal in this unsettling
film, in such a way that ultimately we are no longer sure that everyone lies.
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