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F for Fake (1973)

In a project The Guardian called “full of worldly cynicism and twinkly eyed charm . . . that conceals a wintry sadness about Welles’s life in the make-believe and trickery of the movies,” Orson Welles conspires with his untrustworthy subjects—an art forger named Elmyr de Hory, who sold forgeries of works by painters like Picasso and Matisse, and Hory’s would-be biographer, the journalist Clifford Irving, who himself went on to attempt to scam the American publishing world with what he claimed was Howard Hughes’s autobiography— and holds them at arm’s length, “like a conjurer with his rabbit,” or so said The New Yorker: “You came out dazzled by the sleight.”

To read more on Vogue:

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