What If the Truth Destroys Everything?

Read Time:5 Minute, 13 Second

MOVIE REVIEW
Falsehood
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Genre: Sci-Fi, Thriller
Year Released: 2025
Runtime: 1h 51m
Director(s): Ethan Hickey
Writer(s): Ethan Hickey, Mouloud Kay
Cast: Mark O'Brien, Janet Porter, Adam Tsekhman, Mojeane Sadr, Shawn Doyle, Shaun Benson, Humberly González, Greg Bryk, David Reale, Oluniké Adeliyi
Where to Watch: TBD

RAVING REVIEW: When memory becomes a commodity, truth is no longer sacred—it’s transactional. That’s the unsettling premise behind FALSEHOOD, a high-concept Canadian sci-fi thriller from director Ethan Hickey. While ambitious and full of provocative ideas, the film occasionally leans too heavily on its philosophical framing. Still, there’s no denying its scope. For a low-budget production, it manages to feel expansive, polished, and politically charged, threading personal drama through a near-future narrative steeped in surveillance, power, and faith.

Set in a dystopia where memories are regulated and traded like property, the film follows Department of Memory agent Elizeus Carrier (Mark O'Brien) as he uncovers a far-reaching conspiracy surrounding the assassination of a high-level figure—and more crucially, the theft of the most consequential memory in human history. What begins as a procedural investigation soon morphs into a battle for the soul of a society divided by belief systems and institutional control.

O'Brien’s Carrier delivers a measured and layered performance. O'Brien brings the necessary gravitas to a character burdened by responsibility, loss, and the trauma of inherited secrets. Carrier is not just hunting a suspect; he’s haunted by his mother’s legacy and his sister’s ambition. The emotional stakes feel genuine, even as the narrative moves briskly through future-tech jargon and theoretical politics.

The world Hickey builds is strikingly plausible, anchored by the concept of “memory extraction” as both evidence and emotional weapon. Memories in this society are stored, edited, stolen, forged, and in some cases, erased. It’s a chilling commentary on state control, personal truth, and how easily both can be manipulated under the guise of protection or progress. FALSEHOOD may borrow familiar tropes from the genre—black markets, surveillance states, truth as destabilizer—but it reshapes them into something intimate, especially when filtered through family.

One of the film’s most memorable subplots revolves around the titular “memory of falsehood,” a single recording so powerful it could unite—or destroy—humanity’s belief systems. The conflict over whether to release it publicly or keep it buried forms the philosophical backbone of the film. Janet Porter’s performance as Marie Carrier, Elizeus’ sister and presidential hopeful, adds emotional pull and political tension.

The film’s dialogue occasionally strains under the weight of its ideas. Expository scenes become info-dense, and some exchanges veer into exaggerated territory. That said, the cast’s commitment often salvages these moments.

Shot entirely in London, Ontario, FALSEHOOD disguises its indie roots remarkably well. There are over 100 VFX shots, many of which are subtly integrated into the background to enhance world-building without becoming distracting. The proof-of-concept short filmed back in 2023 provided a strong foundation; some scenes are directly lifted and reimagined for the feature, creating visual continuity for those familiar with the earlier version. It's a small but notable example of how indie filmmakers can evolve their vision without sacrificing cohesion.

The story itself is packed with twists—some predictable, others genuinely surprising. Without revealing too much, the central mystery never loses sight of its emotional core: the burden of knowing too much and the impossibility of unseeing the truth. It asks: What would we do if the secret to our existence could unravel everything we believe? Would we share it? Bury it? Or fight over it until society collapses?

Some supporting roles feel underwritten, the political subplots become disorienting in the final act, and the script occasionally relies on repetition. There are moments where logic gives way to plot convenience, and a few monologues—particularly in the final third—feel like they belong in a different, more stage-like medium.

But even with its imperfections, FALSEHOOD succeeds at what it sets out to do: spark conversation. It’s the kind of indie sci-fi that invites repeat viewings, not because of its visual spectacle (though it has that), but because of its ethical complexity. It’s less about what’s in the memory and more about what the world chooses to do with it, or not do, out of fear.

For a film made on a modest budget, FALSEHOOD feels impressively bold. It doesn’t pander, and it doesn’t play it safe. Its characters argue not just with each other, but with the very fabric of belief and reality. That alone makes it worth your time. Smart, tense, and full of potential—FALSEHOOD offers an ambitious glimpse into a future that might not be as far away as we’d like to think.

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[photo courtesy of 5 STAR IDIOT PRODUCTIONS]

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