- Date of Release: 6th June 2026
- Genre: Drama, Comedy
- Language: English
- Watch On: Tribeca Film Festival
Deepfake
Introduction
There is an early subtext of loneliness that is tapped in the film Deepfake with the introduction of the protagonist Jane (Jessica DiGiovanni). She is on the cusp of 30, still single and spending her time on dating apps, keen to find friendship and company. This immediately tells you a thing or two about loneliness in the 30s, with friendship suddenly having an expiry date, and people invariably moving ahead in life either through their relationships, or friendships. And it is interesting on how this loneliness is interwined in the social media era wherein making friends is both easy and difficult – easy because you literally have apps for dating amd friendship, and difficult because these would remain frivolous equations that are anyway not real. So more than a glance or a smile, if a person chooses to swipe left or scroll up, then it tells you a thing or two about the collective consciousness of a generation that is fickle-minded, something that Jane is unwittingly a part of as well.
Story & Screenplay
Written by Matt Eames, the initial conflict of Deepfake with respect to Jane remains that of her breakup with her ex Tyler (Nick Cabot Rodriguez), who in turn has apparently started dating another diva. The idea of a mam choosing another woman, has a directly implication on the psyche of Jane that further expands on her situation of loneliness. The aftermath of a relationship for Jane features her stalking her ex on social-media, while further lowering her own self-esteem along the way. And given her loneliness, she approaches an app called BFFer to help her gain a friend and a confidant – something that brings to the fore Zoe (Sophia Lucia Parola).
The dynamic between Zoe and Jane is a friendly one to begin with, while also establishing a dangerous foundation of ‘friendship’ in the era of social media. For instance in a scene, when the protagonist expresses her desire to be ‘Jane 2.0’, just a way of transforming herself to get her ex back in her life, Zoe immediately offers the services of ‘dedicated people’ known to transform people into overnight social media sensations, thereby persuading Jane to opt for it. Enter London (Jocelyn Weisman) whose first words to Jane are on how ‘she could bring results’ without the latter having rights to question her moves.
The proceedings have a unique distinction of being frothy and light on the surface, but deliberately darker and problematic as you go deeper with the exploration of themes with regards to the shifting personality of the protagonist. In a way, this is a reverse coming-of-age tale – even as the initial highs of gaining attention on social media leads to severe implications on the part of the protagonist. The events seem humourous and amusing – even while the protagonist is asked to pose in ‘jargons’, while simply draining her finances, even as her ‘social media’ team would soon dry up her life socially. This, even as the protagonist tries striking a ‘virtual’ friendship over zoom with a candidate in an instance, or a potential connection at a bar with the bartender in another, both in a rather unsuccessful manner.
The alarming aspect of the drama isn’t the idea of using social media to gain followers and popularity, or even find a way for Jane to get back with her ex. It is the ability of an individual to allow technology to supersede the very voice or personality of an individual, in a virtual world that is literally a ‘deepfake’ one. Hence in a scene when a frustrated Jane exclaims on how the strategized posts aren’t her ‘voice’, you empathize with the protagonist, while also being witness to the histrionics of her team who even intend on bringing her body double for the assignment. And hence after a point, the potential transformation of Jane from a project manager to an influencer (and everybody is one these days, phew), almost extends in another dimension from Jane 2.0 to Jane 2.1 – a fact that remains amusing and pondering in equal measures.
The minor criticism that I had was with regards to the reluctance of the writing in delving deeper into the psyche of the protagonist, whose initial conflict remained that of loneliness. The spiralling moments occur only in traces – even as Jane gets to know about the reality of his ex’s dating life, or that he did go on a vacation with her at the start, contrary to his reluctance in taking one with her. So while the stakes are good, the plunge to the next level is missing – even with a metaphorical ending that doesn’t always land smoothly. But despite that, the journey is entertaining and papers over some of the cracks in the third act.
Dialogues, Music & Direction
The dialogues have a rhythmic beat to them while ably adding to the humour in the drama through its themes. The BGM definitely contributes in elevating the humour prevalent in various scenes. The cinematography comprises of frames that exude of vibrance, which is metaphorical for the glittery presence in the social media – something that is carried out through the attires, or the campaigns. But the hues of grey or rather dimmer shades are reserved for the relatively poignant moments in the drama that are centered around the quieter conflicts of the protagonist with regards to loneliness and the lack of friendship. This, while rhythmically aligning itself with the kinetic nature of the narrative.
The editing pattern is crisp and sharp, while never allowing the drama to get bogged down at any given point, and maintaining the overall length of the drama to under 90 minutes. The editing style also does its bit in capturing the amusing side of the drama, even while accounting for a palpable emotional core on the part of the protagonist.
Director Matt Eames ably mounts his drama on the shoulders of a protagonist who is a millenial, while pitting her against the side-effects of social media. His narrative style remains kinetic while allowing themes of loneliness, popularity and fame drive the decisions of his protagonist, although he perhaps could have delved a little deeper in her dark psyche. But the end result is that the drama is pondering and entertaining in equal measures, while presenting itself as a wicked satire of sorts. And this basically means that the direction is pretty good.
Performances
The performances are wonderful by the members of the cast. The likes of Rahul Makwana as Ashish, Nick Cabot Rodriguez as Tyler, and Emily Unkles as Stella have their moments to shine, and all of them manage to impress despite a limited screentime. Jetta Juriansz as Isabella is understated and manages to hold her own. Esin Varan as Carrie and Ellis Charles as Megan offer subtle streaks of humour to their acts, and both of them are superb to witness here.
Jocelyn Weisman as London has a calm and calculative outlook towards her client, and that invariably results in several bouts of dry humour. Sophie Lucia Parola as Zoe also contributes to the sarcastic gaze of the narrative, while fully surrendering to the vision of the filmmaker. She was a treat to witness in a solid act. Jessica DiGiovanni as Jane has layers to her character, something that stems for loneliness and the lack of friendship in her life. There is a strand of vulnerability that offers moments of poignancy that are deliberately drowned in the broader themes of the drama with respect to the creation of her alter ego on social media. She is uninhibited and brilliant while delivering a layered act that is entertaining and humourous to witness.
Conclusion
As part of our Tribeca Film Festival coverage, Deepfake uses a fun, effervescent style to explore a serious issue. It dives into the messy world of social media apps and modern dating culture. While the film is full of laughs, it also serves as a sharp, painful commentary on loneliness, and how isolated we can feel in a connected world. It balances these dark themes with a light heart, creating a truly entertaining viewing experience.