Film
The Unbelievable Truth
Hal Hartley's debut feature is a small-town comedy of misunderstanding and attraction, where a returning ex-con's dark reputation precedes him into every conversation. It's deadpan and peculiar, shot in crisp black-and-white, moving at a rhythm all its own. For anyone who loves dialogue that circles around what people actually mean, and characters who say the funniest things while barely cracking a smile.
Should you watch it?
Watch it if you enjoy deadpan, stilted dialogue and small-town oddballs whose dull routines hide a gentle, offbeat romance, the kind of low-budget indie style that lands through silence and rhythm rather than plot.
Skip it if you want momentum or warmth turned up; the flat, deliberate delivery and long stretches of stillness can feel like waiting for a joke that never quite arrives.
What it asks of you: Ninety minutes of patience with unhurried scenes, flat line readings and awkward pauses, where the humor builds slowly and pays off for viewers who stay put rather than leaning forward.
Not sure? Find tonight's pick in a minute.
If you liked this
Stranger Than Paradise1984
Jim Jarmusch's deadpan debut about drifters and disconnection. Minimal plot, maximum mood, and a grasp of how funny boredom can be. The spiritual ancestor to Hartley's sensibility.
But It moves slowly and deliberately, with long stretches where nothing much happens. If you need narrative momentum, this will feel like watching paint dry.

Clerks1994
Kevin Smith's black-and-white comedy about people stuck in place, talking in circles about nothing and everything. Shot on a shoestring, full of digressions and philosophy masquerading as banter.
But The dialogue can feel self-indulgent, and the humor doesn't land if you're not in the mood for vulgar, rambling conversations about pop culture.

Trust1990
Another Hartley film from the same year—equally strange, even more caustic. A pregnant teenager and an angry young man bond over their mutual rejection. A masterclass in his particular brand of uncomfortable comedy.
But It's bleaker and colder than The Unbelievable Truth, with characters whose company can feel exhausting rather than charming.

Not sure tonight? Get a pick in a minute, starting from The Unbelievable Truth
The wildcard
Something you would not have found on your own.
Johnny Guitar1954
Both films use genre expectations—the criminal returning home, the Western—as a frame for something quieter: characters who connect through talk, not plot. Both are about attraction blooming under suspicious circumstances, where words do the heavy lifting.
Nicholas Ray's Western built on dialogue and psychology instead of gunfights. Two women circle each other with language as loaded as ammunition. Shot in vibrant color, it's about power and desire dressed as a genre picture.
But It doesn't move like a Western should. Long conversations where nothing happens in plot terms will alienate anyone expecting action. It's also formally strange, even by modern standards.

More like this (8)
Before Sunrise1995
Linklater's film about two strangers talking through the night. Dialogue-driven, romantic without being sentimental, and interested in the spaces between words. A different pace entirely, but the same faith in conversation.
But There's almost no plot. If you're looking for conflict or resolution, you'll leave frustrated. It's about mood and connection, not story.

The Living End1992
Gregg Araki's punk-rock indie about two gay men on the run. Chaotic, electric, full of jump cuts and attitude. A film that burns with rage and longing in ways The Unbelievable Truth keeps carefully controlled.
But It's deliberately abrasive and unpolished, which some people mistake for amateurism. The emotional stakes are rawer than you might expect from its scuzzy aesthetic.

Hollywood Shuffle1987
Robert Townsend's comedy about a Black actor navigating the industry's racism. Shot on a micro-budget, ingeniously structured, and genuinely funny while carrying real weight. An indie gem with something to say.
But The production values are rough in a way that's hard to ignore, and some of the sketch elements feel dated. Requires patience with its satirical form.

The Watermelon Heist2003
A small, strange indie comedy about a con artist and a mark. Deadpan humor, odd supporting characters, and the kind of specificity that comes from a filmmaker with a genuinely original voice.
But It's obscure for a reason—not many people connect with its particular wavelength, and the comedy can feel mannered or cold.

Swoon1992
Tom Kalin's fictionalization of the Leopold and Loeb murders, shot in stark black-and-white. Intellectually sharp, sexually charged, and designed as a provocation. For people who like their indie films challenging.
But It's deliberately difficult and fragmented, interested in transgression over narrative clarity. Not a comfortable watch, and some find it pretentious rather than profound.

Erotique1994
Three short films by three female directors, including Monika Treut. Experimental, sensual, and genuinely strange. A collection that refuses to be pinned down.
But Anthology films are uneven by design, and this one swings wildly between registers. Some segments will feel essential, others will leave you cold.

A Prophet2009
Both films concern a man marked by suspicion or reputation, and how he moves through a world that has already decided who he is. Both find their emotional truth in the small human connections he makes along the way, despite everything.
Jacques Audiard's film about a young man in prison learning to survive. Shot in cool blues and grays, it moves between violence and quiet observation. A slow-burn that builds to something genuinely great.
But It's long, and the pacing is glacial. The violence, when it comes, is sudden and unsettling. Not a comfortable film, though it's masterfully made.

Ghostland2018
Both are films that distrust surface meaning, where what everyone assumes about a situation—the murderer's guilt, the nature of the threat—proves to be incomplete. Both find their power in the gap between reputation and truth, in characters learning to see past their own first impressions.
Pascal Laugier's horror-fantasy hybrid, a puzzle box of a film about women in a house haunted by something that might not be supernatural. Visually stunning, structurally audacious, and genuinely unsettling.
But The twist is divisive, and the tonal shifts from horror to magical realism to psychological drama will confuse or alienate you if you need genre consistency. It's also bleak in ways that go beyond dark comedy.

People
Cast
Adrienne ShellyAudry
Chris CookeVic Hugo
Julia McNealPearl- Katherine MayfieldLiz Hugo
- Gary SauerEmmet

David HealyTodd Whitbread
Matt MalloyOtis
Edie FalcoJane
Jeff HowardIrate Driver
Kelly ReichardtHis Wife
Directing
- Peter GrandContinuity
- Hal HartleyDirector
- Ted HopeFirst Assistant Director
- Ann RuarkScript Supervisor
Writing
- Hal HartleyWriter
Production
- Bruce WeissCo-Producer
- Hal HartleyCo-Producer
- Jerome BrownsteinExecutive Producer
- Bob GosseProduction Manager
Recommended by
Stranger Than Paradise, Never Mind the Buzzcocks, Insert Name Here, Years Later: The Unbelievable Truth and Its Consequences