The Conspiracy
The Conspiracy
Directed by:
Christopher MacBrideScreenplay:
Christopher MacBrideCinematography:
Ian AndersonComposer:
Darren BakerCast:
Aaron Poole, James Gilbert, Simon Reynolds, Julian Richings, Philip Riccio, A.C. Peterson, Angela Besharah, Ian Matthews, Melanie Scrofano, R.D. Reid (more)VOD (1)
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When two young filmmakers select a crazed conspiracy theorist as the subject of their new work the task seems simple enough: Befriend him, gain his trust, and let his theories speak for themselves. Despite his street preaching their subject proves to be an articulate and intelligent man. Listen long enough and his arguments even start to make a certain sort of sense. It's enough to make you wonder if maybe, somewhere, there's some basis to what he's saying. And then he simply disappears. While one of the filmmaking duo is prepared to walk away the other becomes obsessed. This should not be possible. People do not just disappear. Not unless someone wants them to. What if he was correct? What if he was on the verge of exposing some greater scheme? And what if he was taken? And so begins an obsessive effort to reconstruct his work, an effort that points the duo to a high powered retreat and networking organization for the political and business elite. (Arrow Films)
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Reviews (1)
After countless unoriginal found-footage horror flicks we’ve got to the stage where for it to be interesting a film must push the concept somewhere further. The original feeling of “cool! the camera makes me a character” is long gone. The recent Europa Report ingeniously built tension and titillated the viewer’s expectations with the question “how is it possible that we are seeing this footage?” The Conspiracy is another example of a fake documentary (i.e. a blend of found-footage scenes with interviews of people of interest) and in the end the viewer is nagged by a completely different question: “Why are they showing this documentary to us?” To appreciate it, you must not take it as a feature film, you need to get into the documentary game; it’s the only way this smart film can work. The horror bits (jump-scares, action, gore, scary atmosphere) are lacking for most of it and therefore the film will not be everyone’s cup of tea, even though the final “ritualistic” act is very mysterious and unsettling (I couldn’t avoid remembering the ending of Wheatley’s Kill List).
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