The film titled F for Fake is a documentary movie that focuses on the topics of lies, deception, and fakery with real-world implications. The main reason is rooted in the fact that it provides examples that are not fictitious in their nature. In other words, direct observations and assessments are made in accordance with the key narrative. The methodological frameworks of utilizing deception and fakery are demonstrated. Therefore, the film is a documentary with an unconventional format of the alluding tone to the problematic aspects of the essence of what constitutes the term ‘fake.’
Firstly, it is important to note that documentaries contain a specific set of elements that make a visual product such. F for Fake is recorded within the context of this genre because it focuses on real-world instances of deception and lying. Orson Welles enters the scene by revealing that any so-called magician is a mere professional actor who is able to convince people he is capable of conducting magic. The craft itself is designed to divert one’s attention from the core steps of a magic trick to yield an outcome that might be perceived as impossible and disobedient of logic. Therefore, the director and starring individual himself show a real example of how deception and fakery play an important role in the art of magic tricks.
Secondly, the film is categorically a documentary because the story of Elmyr de Hory is real and was a scandalous example of art forgery. The movie cleverly demonstrates how effortless it was for the faker to fool not only the consumers of artworks but even experts themselves. It is clearly stated that de Hory had no serious difficulty ensuring that his works passed the experts’ analysis. In addition, the documentary makes it evident that these experts often overlooked and were interested in not properly identifying the fake products. It is strongly suggested that art dealers and experts were themselves fake people since it is either impossible to distinguish authentic artworks or they are support fakers. The deceptive nature of de Hory is noticeable after his conviction, where he utilizes an outstanding talent for being evasive about the charges. The problem of ‘fake’ has deep roots because de Hory’s luxurious house was under the ownership of yet another art dealer and not the forgery master himself. Therefore, there is a real-world example of how the lying element is interconnected within an elite community interested in the arts.
Thirdly, Oja Kodar is a foreshadowed case of falsification and forgery of art. The model was used by Picasso to create his famous paintings, but it is revealed that she plotted to reproduce these works with her grandfather. He was the one who arranged the meeting between the painter and the girl to set up the plan. The works of art were allowed her to be kept for her own personal uses. However, the grandfather reproduced them to be sold to other individuals, which undermined Picasso’s deal with Kodar.
In conclusion, F for Fake is a documentary with a peculiar structure and narrative. However, it still belongs to the genre because it features real-world cases of art forgery and deception. Even Picasso’s case is demonstrative of how one of the most famous painters was fooled by two related individuals. The historical example is presented through the recreation of the events, which are still relevant and accurate to what happed.