Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisonerpenitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone (I'm a mechanic), yet the symbolism is rich he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . You need a woman not a girl) is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly arty and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual am notare too argument).　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the unbelievable truth of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

《难以置信的事实》剧情介绍

《难以置信的事实》是一部由八集组成的有限剧集，改编自普利策获奖调查记者提莉·米尔罗伊于2015年发表的同名文章。该剧讲述了一个年轻女子玛丽·阿德勒(KaitlynDever饰)被指控虚假陈述强奸事件，尽管她一再坚持自己遭受性侵犯。

第1集：难以置信的事实

玛丽成为四名男子轮奸罪的受害者，她向警察报案后，警方因没有发现明显的外伤而对她表示怀疑。侦探格蕾丝·拉斯穆森(ToniCollette饰)接手此案，她认为玛丽的举报是真实的，并决心找到证据证明此事。

第2集：警报

尽管拉斯穆森的努力，玛丽被指控虚假陈述，因为她的证词与其他目击者的陈述不一致。玛丽因无法提供确凿证据而感到绝望和孤立，最终撤销了指控并违背自己的意愿签署了认罪协议。

第3集：狩猎

几年后，科罗拉多州科林斯堡的侦探卡伦·杜瓦尔(MerrittWever饰)遇到了一名自称被强奸的女子。通过调查，杜瓦尔发现此案与玛丽·阿德勒的案件存在相似之处。

第4集：不存在的证据

杜瓦尔和拉斯穆森联手，重新审视玛丽的案件。她们发现警方最初的调查存在严重缺陷，没有进行适当的取证工作，也没有认真对待玛丽的指控。

第5集：逃往科罗拉多

拉斯穆森和杜瓦尔深入调查，发现犯罪分子逃到了科罗拉多州，他们继续袭击其他年轻女性。女子们本应受到保护，但由于警方的疏忽和不作为，她们反而受到了伤害。

第6集：诚实

拉斯穆森和杜瓦尔追踪到犯罪分子并将其逮捕。她们揭露了警方处理玛丽案件中的不当行为模式，导致玛丽受到不公正的指控。

第7集：隐蔽伤害

科林斯堡的受害者们出庭作证，揭露了犯罪分子的可怕行为。玛丽面对情绪崩溃的时刻，因为她必须重新回忆自己遭受的创伤。

第8集：难以置信的实现

正义得到伸张，犯罪分子被判有罪并被判处终身监禁。玛丽终于得到了迟到的正义，而格蕾丝·拉斯穆森和卡伦·杜瓦尔也因不懈地追求真相而受到表彰。

该剧强调了性侵犯受害者面临的困难和创伤，突出了警方在调查此类案件时尊重和相信受害者的重要性。它还谴责了警察的不当行为和腐败，并强调了坚持不懈的重要性，即使面临困难重重。