Writer-director Nicholas Winter’s The Imposters is a thrilling rollercoaster ride, punctuated by three significant narrative twists. The first one, while not the most mind-blowing, sets the stage for the suspense that follows. A different story swerve could have potentially added a more original and engaging element. However, the second twist enhances the first, making it more natural to the story than it initially appears. The final reveal ties everything together in a surprising but effective way, leaving the audience on the edge of their seats. The lingering question is whether or not the journey is worth the revelations.
Maya (Marie Everett), a tutor in high demand, has barely gone out since she was in a car accident a few years ago. She’s also now emotionally stunted, barely reacting to anything going on around her. This drives Maya’s actress partner Anna (Teagan Mordt) up the wall, with the wedge becoming too deep to mend. Shortly after this break-up, Maya meets Hattie (Chynna Walker) while the two are both out for a run. Despite Hattie being a chatterbox and Maya barely speaking out monosyllabic words, the two have instant chemistry.

“…Hattie makes comments such as that she’s not actually an artist and that she wants Maya only to tell the truth.”
As the afternoon turns to night and then day, Hattie convinces Maya to come away with her to her home in Spain. See, she’s an artist, originally from the States, but can create anywhere, so she’s used her success to purchase beach-side property along the Iberian Peninsula. Once there, though, Hattie makes comments such as that she’s not actually an artist and that she wants Maya only to tell the truth. She plays these off as if they are jokes, but the more time Maya spends with her, the more secrets she discovers. What are Hattie’s true intentions with Maya? What thing in her past keeps eating away at Maya?
The Imposters starts engagingly, with a strong set-up. Maya’s students are, according to Anna, attractive females. The snide way she says this reveals insecurities and jealousy. It’s a strong start in establishing these people and their relationship. The meeting of Hattie is cute, and it is easy to understand how she entices Maya. The initial fun in Spain — walking along the beach, lounging in the mini-mansion — is a glimpse into a world that’s too good to be true.
Then, the first twist hits. As mentioned earlier, it is only so-so. Without spoiling things, my initial reaction was, “Oh, how predictable.” That was followed by, “Well, if X person were actually Y person, things like Hattie knowing Maya’s job and routine would make more sense.” I know how vague that must come across, but spoiling things would be unfair to the film and the audience. This obviously took me out of the film, as I was not engaging with the narrative but rather pondering ways to improve this reveal. This distraction, for lack of a better phrase, lasts several minutes.