9.0/10
10
1 user

I Know You (2014)

| Short, Drama | Video
Could you push the envelope of cult personality and distortion of media, or rather enfold it? This is a game of confidence. What if you couldn't tell the difference between what was real ... See full summary »

Director:

Writer:

Reviews
12 wins & 7 nominations. See more awards »
Edit

Cast

Credited cast:
Colin Gerrard
Edit

Storyline

Could you push the envelope of cult personality and distortion of media, or rather enfold it? This is a game of confidence. What if you couldn't tell the difference between what was real and what was not? What if you could get away with something and everyone seemingly believed you? Sometimes it doesn't matter who you are, it's who they think you are. Written by Colin Gerrard

Plot Summary | Add Synopsis

Genres:

Short | Drama

Edit

Details

Official Sites:

Country:

|

Language:

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Color:

See  »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
An Intriguing Exploration of Fame and Illusion
22 January 2015 | by See all my reviews

I Know You experiments with the notion of fame in societies that seem to worship it without understanding why, to which the film manufactures an illusory world in which the fame of the protagonist demands attention wherever he goes. Part documentary, part fiction, I Know You blurs the line between fact and fantasy in an exploration of a ubiquitous modern phenomenon.

From the start, the genre of the film is not entirely clear. An airplane touches down in Rome's airport, and the narrator's voice asks a question: 'What if you could get away with something and everyone seemingly believed you?' A man (played by the film's director, Colin Gerrard) dressed handsomely in a dark suit and carrying a suitcase emerges from the airport accompanied by a professional-looking man in dark sunglasses. Together they head for a car in the lot and the chauffeur takes his bag. Soon they are on Italian roads, and signs passing by overhead indicate that they are headed straight for the centre of Rome. The car stops at one of Rome's most well-known sites, the Colosseum, and as the well-dressed man steps out into the sunshine, he is greeted by a team of photographers. On their jackets is written 'RTV' and a logo in the shape of a television. Words written within the logo translate the initialism: 'REALITY TV'. The narrator re-emerges to clue the viewer a bit more: 'Sometimes it doesn't matter who you are – it's who they think you are.' The cameras follow the man's experiences in Rome. First he stops at a hotel, and at a cameraman's casual mention that the man is an actor staying to work in Rome, the concierge insists that the hotel upgrade his normal room to a suite. 'Wow, things began really well' quips the narrator – himself the protagonist on-screen. 'With any performance', he continues, 'a good escort is needed for the evening'. He opens the door of his hotel room to reveal a beautiful woman, and together they wander the streets of Rome – accompanied, of course, by a horde of 'RT' photographers. They carry massive video cameras along with smaller ones that flash occasional bright light into the urban darkness.

Throughout this sequence, the reality of the situation is quite unclear. Is this man an actor or is this all a joke? Or is it an experiment? The vastness of the enterprise indicates early on that there is some strange combination of truth and falsity in the unfolding drama. As the protagonist and his escort traverse the streets of Rome, they are bombarded not just by the 'RT' photographers, but also by the public at large. At every street Romans and tourists alike stare at the couple and their entourage of photographers, gesturing, smiling, waving – and taking pictures of their own.

Are they all actors, too? It soon becomes impossible to distinguish reality.

The narrator offers clues, mostly in the events' aftermath. Far from the urbanity of Rome, we find ourselves on a tropical beach, where the same familiar voice comments once again: 'The hardest part in all of it was trying to figure out the definition of what reality is. Everything, and I mean everything, has become blurred.' It seems the film's blending of the real and the fake overwhelms even the protagonist himself, who struggles to find himself in either. He offers a message of critique around which the film's action seems to have revolved: 'You ask a kid these days what he wants to be when he grows up and a lot of them will tell you, "I want to be famous!" – You want to be famous at what? – "Well it doesn't really matter. I just want to be famous".' The imaginary dialogue points to the strange notion of fame in modern society. From this perspective, the protagonist was entirely unimportant to the actual documentary process, which was the examination of the public's reaction to the illusion of fame. And as it turns out, the narrator was right from the beginning: 'Sometimes it doesn't matter who you are – it's who they think you are'.

The cinematography (by Simone Gallorini) is interesting and distinctive because it appears that the cameras used for the film are the same ones operated by the 'RT' staff. The documentation of 'Reality TV' becomes the film itself – which in turn documents the effect of the illusory 'RT' and the illusion of fame that its presence bestows. The editing (by Dragomir Bajalica) is well-done to accomplish a narrative effect that moves back and forth in time to tell the protagonist's story. At times, however, these effects go too far, and their repetition tends to detract from what would otherwise be a more powerful, if briefer, exploration. Indeed, the film, though just over eight minutes long, could be cut shorter to greater effect. The scenes of tropical beaches are beautiful and the narration adds a dimension of meaning, but the concluding remarks may have been more effective had they matched the mysterious qualities of earlier scenes.

In the end everything about the film is mysterious, though, and the film does an excellent job of blending reality with unreality to keep the viewer questioning until the end. Is this a documentary or a hoax? And what of the protagonist himself? When he talks about 'the hardest part in it all', is he telling the truth – or is he still acting? These questions make I Know You an intriguing exploration of fame and illusion.


1 of 1 people found this review helpful.  Was this review helpful to you?

Contribute to This Page