This documentary, that follows the Facebook relationship between a New York photographer and a woman in rural Michigan, starts slowly, as there seems little point in making the film, but ultimately nails a keypoint about the Facebook era. Like Capturing the Friedmans (US, 2003), the documentarists seem to stumble upon something significant; Andrew Jarecki, who made the Friedmans, is credited as a producer of Catfish.
Shelley Turkle, in Alone Together: Why We Expect More from Technology and Less from Each Other, states that ‘People talk about digital life as the “place for hope,” the place where something new will come to them.’ Without spoiling the film, Catfish finds itself investigating the way some people use, in this case Facebook, as a way of escaping their own lives.
Shot on a variety of devices, themselves part of the wired world we live in, of varying quality, Catfish has the look of a home movie, even the sound is wayward, that befits its subject. The two filmmakers, Henry Joost and Ariel Schulman , show themselves to be extremely sensitive young men, as does Nev, Ariel’s brother, the photographer, in how they handle what transpires. The subject of the revelation (you see I’m trying very hard not to spoil) is treated with a great deal of dignity and sympathy.