A guy impersonating a wealthy, dashing diamond billionaire woos women on online before defrauding them of millions of dollars. Some of the victims are now plotting retaliation.
- Genre: Documentary
- Original Language: English (United Kingdom)
- Director: Felicity Morris
- Release Date (Streaming): Feb 2, 2022
- Original Network: Netflix
- Runtime:1h 54m
In 2019, the Norwegian daily VG published an article titled “The Tinder Swindler,” which, like The Atlantic’s “The Truth About Dentistry” and the New York Times’ “Who is the Bad Art Friend?” sent shockwaves across the general public.
The story follows Shimon Hayut, who spent years of his life impersonating Simon Leviev, the heir of a multibillion-dollar Israeli diamond dynasty. He used this identity to court women on Tinder and then mislead them into lending him hundreds of thousands of dollars, which he would then use to woo his next victim.
As is typical with most successful IP, “The Tinder Swindler” was quickly picked up for adaptation and made into a documentary by the creators behind Netflix’s Don’t Fuck with Cats, a deep-dive miniseries exploring the stranger-than-fiction story of a pornstar-turned-cat-torturer-and-possibly-cannibal. The Tinder Swindler, directed by Felicity Morris, is comparable to Don’t Fuck with Cats in that it is deliciously high-concept, with a frantic intensity and humorous teasing out of turns.
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The Tinder Swindler, on the other hand, faces an intrinsic challenge that Cats did not: It has a lot of ground to make up. It is based on an amazing and captivating piece. Hayut is a ruthless criminal, and his narrative is the epitome of genuine crime.
The source piece breaks traditional reporting conventions by using WhatsApp screen recordings, iPhone footage of private jet journeys, and voice communications, making it feel almost like a small documentary in and of itself. How can you build a decent documentary out of source material that already appears to be spot-on?
That’s a big question, and The Tinder Swindler just might have the solution. The video begins with an interview with Cecilie, a Norwegian woman who is one of Hayut’s victims who denounced him for fraud. She’s pleasant in every way: she talks about how Beauty and the Beast moulded her romantic ideals as a child, and she’s self-deprecating about her unsuccessful Tinder dates.
Morris portrays the narrative of Hayut’s crimes and deceptions through the eyes of three of his victims, converting an epic crime (which is the subject of the essay) into emotional warfare. The Tinder Swindler makes no attempt to adhere to the article’s stringent reporting edge.
Morris does all of this without exposing the film to outsiders’ perspectives or including more than a few objective news items to bolster the emotive aspect. The documentary format lends itself to creating empathy and emotionality, and Morris’ directorial debut capitalizes on that.
A restricted focus and a strong emotional edge are ideal for a narrative like this. After all, this is a storey about emotional manipulation, which, according to one of Hayut’s victims, is almost as bad as being tricked out of hundreds of thousands of dollars.
The documentary juxtaposes multimedia—including clips from the girls’ romantic getaways with Hayut, voice messages in which he convincingly rambles about how much he loves them, and screencaps of texts in which he frantically explains that he is in danger—with his victims’ testimonies about their emotional states at the time.
The Tinder Swindler is neither didactic nor patronizing toward those who hunt for love online, despite its comprehensive examination into dating fraud and its emotional ramifications. As Cecilie points out, Tinder was not to blame for anything that transpired.
More importantly, The Tinder Swindler has its finger on the pulse of what true crime documentary audiences seek. Netflix’s true crime section has been remarkably active over the past decade or two, with the powers-that-be always on the lookout for the next Making a Murderer or Tiger King. This has frequently resulted in overly long, dull rehashes of only somewhat engaging stories, or, God forbid, Tiger King 2.
The Tinder Swindler is an exception to this tendency, and it implies that the streaming service’s docu-crime segment has a potential future. It doesn’t drag on any longer than it has to, clocking in at just under two hours. It’s brief, crisp, and to-the-point.
It also neatly incorporates all of the features we seek for in a document like this: A narration of the crime and the investigation (the latter being even more intriguing than the former in this case), non-distracting reenactments, and an engaging tone, which Swindler achieves by flying across the world to exotic locations—all accompanied by a vibrant music.
I recall thinking when Don’t Fuck with Cats first came out that it had “cult classic” written all over it. The Tinder Swindler gets the same treatment, this time in huge, bold lettering.
“The Tinder Swindler,” Netflix’s most recent documentary with regards to an expert trick craftsman and his intricate Ponzi conspire, opens with an alternate sort of trick – the fantasy of Mr. Perfect. In disclosing what she wanted to escape Tinder, gullible Norwegian Cecilie refers to Disney motion pictures like “Magnificence and the Beast.” Like Belle, she was likewise a modest community young lady living in a desolate world – for what reason wouldn’t she be able to find her own monster turned-sovereign? Tragically for Ceclie and innumerable other (generally blonde) ladies, her Mr. Perfect ended up being a monster.
However consistently an exemplary in the realistic creative mind, swindler stories have been especially stylish lately. Simply take a gander at the whirlwind of tasks about Theranos organizer Elizabeth Holmes (both Jennifer Lawrence and Amanda Seyfried will make a pass at her crackpot rhythm), or Shonda Rhimes’ forthcoming Netflix show about false socialite Anna Delvey. “However, the Tinder Swindler” is probably not going to catch a similar level of fun at others’ expense spotted interest, it spreads out its fantastic story at a good speed to benefit from the pattern.
“You can track down a touch of everything on Tinder,” Cecilie (articulated “Cecilia”) says in her energetic meeting, which happens in a conventional upscale eatery, the red cowhide stall darkened by low heartfelt lighting. “We are for the most part searching for that gem waiting to be discovered.”
Whenever she coordinates with Simon, a dull haired playboy with a devious smile, she’s fascinated by his photographs on personal luxury planes and intriguing sea shores. (Shared interests, similar to sea shores, would one say one are of her dating requirements.) He needs to leave town that day, yet could she go along with him for an espresso at the Four Seasons Hotel London? However Cecilie is a piece awkward holding up in the fancy hall, encompassed by individuals with cash, she’s wonderfully amazed by Simon’s attractive features and is promptly taken with him. At the point when he welcomes her on a personal luxury plane to run off to Amsterdam for the afternoon, she is too defeated to address anything.
Director Felicity Morris’ documentary, similar as their relationship, unfurls generally on WhatsApp, Simon’s favored method of correspondence. Through his cut texts and voice reminders that reach from vacant to unsettled, we get a feeling of Simon. His casual effect, his repetition nostalgia, and his equivocally highlighted English (which we later learn is Israeli). To the external eye, Simon is clearly captivating in exemplary love-besieging conduct: He sends standard red rose flower bundles to Cecilie’s work environment, says he cherishes her inside a month, and tells her he needs to wed her and have infants with her. She changes his name in her telephone from “Simon Leviev” to “Simon <3,” her sweetheart.
Like any keen sociopath, Simon changes his conduct for each imprint. However he coordinates with Pernilla, this time a Swede, she doesn’t feel heartfelt toward him. Determined, Simon seeks after her as a singed, welcoming her to party with him in VIP rooms, yachts, and personal luxury planes. She follows alongside Simon and his sweetheart, a “Russian model sort.” She believes he’s fun, partakes in his way of life, and starts to think of him as an old buddy. She appreciates that he’s a decent audience, an interesting quality in a man. How to watch The Tinder Swindler Free?
You can most likely think about what occurs next for both of these ladies. Having let them know he is successor to a precious stone fortune, Simon clarifies he’s run into inconvenience during an agreement in South Africa, and his life is in harm’s way. He sends ridiculous photographs of himself and his protector, a man named Peter. They’ve assumed all his acknowledgment cards, his banks have frozen his records, and he wants to acquire $25,000.
He discloses to Cecilie how she can apply for a new line of credit and draw cash from that, and has her call each organization with his careful charges and areas to expand her credit limit. His texts become progressively requesting, disturbed, and troubling, which checks out on the off chance that he’s genuinely in a terrible circumstance. Cecilie accepts her sweetheart’s life is in her grasp.
The film acquires force once Cecilie and Pernilla savvy up, and draw in a group from Norwegian newspaper VG to investigate the story. As of now not the innocent Disney princess, not entirely set in stone to uncover Simon’s untruths. Since his endeavors happen in nations the whole way across Europe (the film plays, on occasion, similar to a Bourne film), his wrongdoings show up generally little in every ward, and police were unmotivated to research. How to watch The Tinder Swindler Free
Helped by an expert analytical group from VG, who put on a show of being not kidding writers in the film, the ladies can affirm Simon’s area adequately long to get a photograph of him with Pernilla. When the story broke, Simon’s face was spread all around the web, and his different nom de plumes would be nothing but bad.
There’s no fantasy finishing for the ladies in “The Tinder Swindler,” except if you include the joy they took “seeing Simon wriggle.” Simon Leviev, genuine name Shimon Hayut, was in the long run removed to Israel in late 2019, where he was condemned to 15 months for extortion, of which he served five. He is presently a liberated person, and on the off chance that his web-based media presence is to be accepted, is living huge with his model sweetheart. With respect to Cecilie, she’s as yet on Tinder.
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Work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas. Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others.
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