By Robert Scucci
| Published 4 seconds ago
If you’re of a sound mind and in good health, and everything is going great in your life, you probably won’t ever find yourself manipulated into joining a cult. Or, if you’re like Ansel Roth (Leland Orser) from 2014’s Faults, you’re so against the idea of cults separating families and ruining lives that you devote your own life to seeking out victims and reprogramming them so they can go back to the way things were before running away from home.
This is where things get messy, because what if you also owe a ton of money to your loan shark publisher at the same time a desperate family tracks you down so you can reunite them with their estranged daughter? You have no guarantees that you can help them, but you can probably get the cash you need, put on a good show, walk away relatively unscathed, and move on with your life.
At least that’s what Ansel thinks will happen in Faults, but it’s only a matter of time before his reckless behavior catches up with him.
One Sad, Sad Man’s Disingenuous Redemption Arc
In Faults, Ansel Roth is living a very sad life, traveling from cheap hotel to cheap hotel, trying to push his new book. Though his first published work was a highly successful tome about deprogramming cult victims so they could go back to their old lives, his new book is simply a cash grab meant to recoup losses from his recent divorce and other life failings.
Though he has trouble selling his new book, he’s at least able to work out a free room and meal per hotel visit, and otherwise lives out of his car. It’s all really pathetic, but there’s also a sense of entitlement that makes the whole situation disproportionately funny, particularly when he argues over fraudulent meal vouchers and steals all the towels and remote batteries from whatever room he’s about to get kicked out of.
To make matters worse for Ansel, his manager, Terry (Jon Gries), not only severs ties with him because he’s not moving any units, but demands payment for past debts within a week, or else. He even sends one of his goons, Mick (Lance Reddick), to threaten him in person as Ansel travels the country on his increasingly pathetic book tour.
Desperate for cash, and considering the possibility that his entire career is a joke, Ansel is approached by Evelyn (Beth Grant) and Paul (Chris Ellis) about their daughter, Claire (Mary Elizabeth Winstead), who ran away to become a member of Faults, an elusive cult that preys on the innocent. Ansel, in his infinite wisdom, agrees to help deprogram her for the exact amount of money he owes Terry so he can put all of his failures behind him and move on with his life.
The plan is simple at first. Ansel, with Evelyn and Paul’s permission, hires actors to stage Claire’s abduction. Staying at yet another seedy motel, Ansel gets to work with Claire, who doesn’t know her parents are staying in the adjoining room, waiting for her breakthrough. Matters are continually complicated by Claire’s resistance to treatment, along with Mick making surprise appearances to collect the rest of the money Ansel owes Terry.
A Masterclass In Manipulation
Faults takes a deep dive into the exact kind of cult level manipulation you’re familiar with if you’ve watched any documentaries on the subject, but subverts expectations every step of the way. Ansel knows all the methods used to deprogram someone and has had mixed results in the past. He believes he needs to break Claire’s spirit and rebuild her from the ground up so she can assimilate back into her family and put Faults behind her.
Claire, on the other hand, has her own ideas about how things should work. She’s incredibly stubborn, and her behavior, along with external forces beyond her control like Terry and Mick’s looming presence, pushes Ansel into increasingly compromising positions. Constant money runs and impromptu detours during deprogramming sessions leave him sleep deprived, slowly wearing away his resolve and, in many cases, giving Claire the upper hand.
What’s so enthralling about Faults is just how deeply everybody digs themselves in for their own selfish reasons. Ansel needs money. Claire doesn’t want to leave her cult. Her parents want everything to go back to the way it was, even if the way things were years ago no longer serve Claire, who is now an adult.
On some level, everybody is manipulating everybody else, and Faults makes you question who’s actually the real article. Half the fun is figuring out who’s pulling one over on who, and this feeling of distrust and animosity is pushed onto the audience in ways that make you never really want to root for anybody, while also hoping the right party gets what they’re looking for.
As of this writing, Faults is streaming for free on Tubi.
