Amie Siegel's most recent film is a smart and witty, somewhat wicked exploration of psychoanalysis. It plays with the distinction between fiction and documentary, focusing on relations that themselves may have no fixed boundaries: those between psychoanalyst and patient, interviewer and subject, filmmaker and audience. Siegel interweaves a story of a woman in psychoanalysis; interviews with practicing analysts; scenes of auditions for her film, and a documentary on psychoanalysis and modern furniture. Through unexpected and provocative juxtapositions, she raises questions regarding the ability to imagine, self-awareness, and moral frames of reference. Can an analyst lie to his client? Can a film lie to tell a truth? Do both actors and patients “perform”? Are analysts and film audiences voyeurs? As Siegel suggests, the film is “constantly changing its terms, beginning again, enacting or parodying genre, while always pursuing its goal-how can there ever be empathy while authority is still in the world?”