The Lie (2010)

Directed by: Robert Oey | 93 minutes | documentary

With the documentary ‘The Lie’ we go back to the last days of the Balkenende II cabinet. Using archive footage and interviews with those involved, the film reconstructs the events that led to the crisis and the fall of this government. We also learn about the fortunes of an Iranian family who has been waiting forever in an asylum seekers center for a residence permit.

With a subject like this, a documentary maker can go in several directions. An in-depth reconstruction, preferably with some unknown facts coming to the surface. Or a documentary in which the maker places the incidents in a broader perspective, exposing underlying structures, drawing parallels or exploring a general theme in depth.

‘The Lie’ tries both, but falls short twice. The reconstruction is at times too superficial, at times too detailed, at other times not very credible. Because we get to speak with professional politicians here, we never know for sure what is true and what is not. In addition, the Balkenende II Cabinet already did not excel in stability and that world citizen Hirsi Ali was always doomed to leave the village of the Netherlands. So that, on closer inspection, the tragedy may not be so tragic after all.

With the stories of the Iranian family, director Robert Oey tries to show that a lie is sometimes badly needed. Unlike Hirsi Ali, these Iranians told the truth when they came to the Netherlands. As a thank you for this, they have been staying in an asylum seekers’ center for some time now. A fascinating comparison, which unfortunately is not explored in depth. Moreover, it is a pity that the stories of the family never stick. Little emotion, no fascinating family history, no clear insights.

And then there are the songs. The songs? The songs! In ‘The Lie’ the main characters sing about their feelings and they do so straight from the heart. The singing Verdonk, Nawijn and Halsema give the film an overwhelming effect of alienation. It is up to the viewer to figure out why they sing (this reviewer suspects a reference to the theater of The Hague politics, where the protagonists do not recite their own texts either and false notes are part of the regular repertoire), but it shows ‘De Liugen’ how therefore an added value. Which makes this film, despite all the flaws, absolutely must see. Classic in the making.