Filmmakers Luc Côté and Patricio Henriquez don't use flashy tricks to tug heartstrings-instead they put faith in the story they're telling. And what a story it is.
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What are critics saying?
What comes through repeatedly is that questions of law and reason, or guilt and innocence, played no role in the case of Omar Khadr.
This documentary raises enough questions about the ends justifying the means during an era of endless war that it earns the right to be called essential viewing.
The New York Times by Jeannette Catsoulis
Painfully stark yet utterly magnetic, You Don't Like the Truth: 4 Days Inside Guantánamo presents excerpts from the 2003 interrogation of the 16-year-old Omar Khadr, a Canadian citizen accused of killing an American soldier during a firefight in an Afghan village.
This film is narratively inert (we spend a lot of time listening to the same questions being asked over and over) and, like virtually all docs in its genre, less than vigorous in its pursuit of truth.
Would be more satisfying if it were a more definitive look at Guantanamo's workings. All Cote and Henriquez can provide is some glimmers of insight about just one of the men held there. But that's enough to make their movie enlightening, compelling and, finally, heartbreaking.
Village Voice by Melissa Anderson
You Don't Like the Truth focuses on the pathetic manipulations of Canadian intelligence officers as they interrogate Toronto-born Omar Khadr, the youngest prisoner held in Guantánamo Bay.
The Globe and Mail (Toronto) by Rick Groen
Everyone should be thankful, if not for the doc's content, then certainly for its tone – there is no fulminating here. Instead, courtesy of Canadian co-directors Luc Côté and Patricio Henriquez, witnesses are quietly gathered and arguments are quietly made. For once, no one rants, and, in the relative calm, the tone can be heard, so muted and sad.
Luc Cote and Patricio Henriquez's You Don't Like the Truth demonstrates, through excerpts from an actual videotaped interrogation at Guantanamo, the process by which human will can be systematically broken down to force an admission of guilt, regardless of truth.
Côté and Henriquez err in pressing their case too hard on occasion, especially when they cut to reaction shots of Khadr supporters watching footage of his agony; there's a line between providing context and manipulating the audience that they don't care to acknowledge. Then again, subtlety isn't likely the goal: You Don't Like The Truth beats the drum, and beats it loudly.