A more abstract counterpart of The Stolen Man, Piñeiro’s second feature unleashes eight strong-willed characters into a clandestine plot involving art forgery, an unfinished novel and Sarmiento’s US journals, resulting in a giddy kaleidoscope of differed meaning that playfully channels the high postmodernism of William Gaddis. Piñeiro explores a cool stylistic restraint in They All Lie,deploying precision mise-en-scene to transform the rambling country house that is the film’s sole location into a series of inter-nested boxes and closets in which strange skeletons inevitably await. With their zealous embrace of Sarmiento’s introspective writings, Piñeiro’s youthful and self-absorbed characters once again become the delightfully improbable vehicles for thoughtful reflections on the history of modern Argentina.