'The theories proffered by 'Where the Truth Lies' don’t hold up to much scrutiny, and do little to clear up the numerous inconsistencies in Anthony’s account,' writes nschager
the notorious young woman
repeatedly and forcefully contends that she had nothing to do with the apparent murder of her two-year-old daughter, Caylee. It’s Anthony’s first TV interview since she was acquitted in 2011. Yet to buy anything that director Alexandra Haggiag Dean’s non-fiction venture is selling—namely, absolving Anthony of responsibility for Caylee's death and pointing the finger at her father George as an incestuous, pedophilic rapist—requires believing Anthony herself.
The portrait that emerged was of a twentysomething who had offed her daughter so she could live a fast-and-free single lifestyle, and it’s that notion whichtries to counter. Though director Dean makes clear at the outset that Anthony has no editorial control over this project, it’s obviously designed to paint her as a sympathetic and grieving individual who was, and continues to be, wronged at every turn.
complements the weepy commentary with remarks from a few friends and members of Anthony’s legal team, who are now her surrogate family. Still, while Anthony and others address every puzzling aspect of this tale—from Anthony concocting a phony nanny, to not notifying authorities about her daughter, to her infamous tattoo—they do so in unsuccessful fashion.
Dean primarily foregrounds speakers who have Anthony’s back, as well as Anthony herself. But Anthony’s on-camera histrionics feel performative, especially once she’s bawled for the umpteenth time while looking at old photographs, visiting her childhood home, or watching archival footage. Though some points are open to debate, including George’s weird decisions and statements, it’s borderline impossible to take Anthony seriously in light of her past fabrications and ongoing evasions.
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