A darkly provocative documentary that feels like a reality drama mystery is Ariel Schulman and Henry Joost's Catfish.
It centers on the Schulman's brother Nev, a 24-year-old photogenic Manhattan photographer, whom they filmed in late 2007, as both along with friend Henry toil in an unkempt downtown office.
His striking portrait of a dancer made the New York Sun leading to a mother, Angela, helping to set up a meeting between her 17-year-old daughter Megan, by way of some well-made paintings created by younger sister Abby.
Before The Social Network heightens more intrigue about the origins and implications of the cutting-edge Facebook, something labyrinthine unfolds with the burgeoning relationship of Nev and Megan. It may be considered a bit manipulative as sequences of this cinema verite have an intimate charm about it.
Catfish becomes a road movie of a very manageable runtime buoyed by conversation, a product of our times that absorbs with aspects of love and deceit done with some unconventional, unsentimental grace. The filmmakers allow access into Nev's orbit that can be witty, alarming, as well as insightful to the way bonds are formed as perceptions of others may not be as displays from YouTube, i-Phones, or Google may indicate.