‘The Twisted Tale of Amanda Knox’ dramatizes the events around a case that drew a media spectacle

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Amanda Knox, who gained worldwide notoriety in 2007 following accusations (that ultimately proved false) of murder and sexual assault against her British roommate Meredith Kercher while studying abroad in Perugia, Italy, is now both the focus and executive producer of “The Twisted Tale of Amanda Knox,” an eight-part docudrama airing on Hulu starting this Wednesday. Her boyfriend Raffaele Sollecito, who was also wrongly implicated, seems to have received less attention, which could hint at the presence of sexism in sensationalist media and its viewers.

Title “Twisted Tale” hints at an unexpected storyline, contrasting with its dark themes of murder, rape, and false imprisonment. It seems to promise a lighthearted adventure like “The Marvelous Misadventures of Flapjack” or “The Epic Tales of Captain Underpants.” This feeling is further emphasized by the prologue reminiscent of “Amélie,” the quirky French film, setting a whimsical tone. The story weaves together the victim, the accused, and her prosecutor/persecutor in a fairy-tale-like manner. Similarly, the lengthy disclaimer at the end, stating “any similarity” to real events involving Amanda Knox and Meredith Kercher’s murder, suggests that this series is more of an imaginative narrative rather than a factual account – a story or tale.

People often create narratives to survive, using stories about themselves and others. To reiterate a quote from Joan Didion, it’s necessary to invent tales about different individuals in these circumstances. The case at hand involves an executive producer of the series, who co-wrote the finale, based on her memoir titled “Waiting To Be Heard.” It’s possible that some other people may view this project as exploitation or take issue with their portrayals. However, any objections might be overshadowed by a promotional machine that will promote the series as a true account, despite the disclaimer. Following the release of the series, Knox has been featured in publications such as the New York Times and the Hollywood Reporter, alongside star Grace Van Patten and fellow executive producer Monica Lewinsky, who inspired her to create this series.

‘Twisted Tale’, like every docudrama, shares several characteristics that are often problematic for filmmakers and actors. Despite its popularity, especially during the true crime craze, ‘Citizen Kane’ wouldn’t still be a classic today if it were just ‘Citizen Hearst’. It’s essential to remember as discerning viewers and citizens that while this series is factual in key aspects, meticulous in its details, and thought-provoking in its philosophy, it’s not journalism. Instead, it presents an interpretation of the truth, complete with fictional scenes and dialogues designed to evoke emotions. The characters depicted in the series should be understood as portrayals, not reflections of the actual individuals they are named after.

K.J. Steinberg (“This Is Us”) crafted this series, which is skillfully acted, written, produced, and has a mix of tones, but can be confusing due to its temporal inconsistencies. It stretches long, provokes emotional stress and exhaustion, yet remains fascinating through its subject matter and technical execution. The protagonist, Amanda (Van Patten), undergoes a complex journey marked by arrest, imprisonment, conviction, acquittal, re-conviction, and ultimately, re-acquittal. Her transformation into an advocate for innocence (“My freedom mattered and I was going to make the most of it as long as I had it”) leads her back to Italy, where she seeks a sense of resolution as a wife and mother.

In the 2016 Netflix documentary “Amanda Knox,” a gripping account of events unfolding over approximately 90 minutes is presented, taking care to portray various perspectives. For instance, episodes are dedicated to Raffaele and the prosecutor-turned-investigator Giuliano Mignini (Francesco Acquaroli), reminiscent of the French film “Amélie.” Regarding Kercher, only her enjoyment of sunbathing, dancing, and reading mystery novels is mentioned; any further details might be seen as presumptuous. Raffaele, a son who loves superheroes and takes on the role of a protector, emerged due to his troubled mother. Mignini, who lost a brother to lawlessness, views his work as divine intervention, though he was also inspired by Gino Cervi’s portrayal of Georges Simenon’s detective hero in the 1960s TV series “Le inchieste del commissario Maigret.” Mignini adopted that character’s pipe and hat. He declares, narrating his mission: “I made a vow to God, no matter the opposition or dissent, I will not let deviant, ritual murders go unpunished on my watch.

Based on Amanda being an outspoken American, self-proclaimed oddball, whose reaction to the murder was seen by some as lacking appropriate emotion; using fragments of supposed physical evidence that were later disproven; and relying on Mignini’s personal assumptions – such as his belief that only a woman would cover another woman with a blanket – Italian authorities quickly constructed an intricate, entirely fictitious narrative suggesting the murder was the result of a sexual game gone awry. This theory was bolstered by the fact that Amanda had a vibrator and some condoms, which, in 2007, led many to view her as promiscuous or immoral when found sharing an apartment with Meredith Kercher and two Italian roommates.

In an exhausting interrogation, finding myself in a language that was far from familiar, and with limited legal representation, I found myself facing detective superintendent Monica Napoleoni, who seemed like a relentless Javert. Desperate and overwhelmed, I signed a false confession that implicated not only myself but also my occasional superior, Patrick Lumumba. I quickly retracted my statement, yet it seemed to fall on deaf ears. Regrettably, I have not been exonerated from the charges of defaming Lumumba. Even after the actual murderer was apprehended and convicted, the police persisted in their focus on myself and Raffaele Sollecito. The media leaked accusations from the authorities, and the public, captivated by the drama, eagerly consumed it, voicing their opinions across social media platforms.

In this rephrased version, I’ve aimed to maintain the original tone while making it more accessible:

Director Michael Uppendahl uses diverse techniques to tell the story, creating a sense of authenticity in some scenes as if they were spontaneous, while others are intense, featuring aggressive sound design, quick cuts, and jarring transitions to reflect Amanda’s immense pressure from both smug officials and persistent media. (Just a reminder, “Paparazzi” is an Italian term.) A moving score accompanies her closing court statement; a letter written by Amanda to Mignini is illuminated from within, much like the lethal milk glass in Hitchcock’s “Notorious.” Although these stylistic choices suit a narrative where truth gets blurred with fiction, they might occasionally distract you from being fully immersed in the story.

In this production, Amanda Van Patten, a member of the distinguished Van Patten family in acting and directing, stands out for her ability to fluidly switch between English and refined Italian. Acquaroli delivers a profound performance, injecting authenticity and a hint of weary wit into his portrayal of the steadfast policeman. Sharon Horgan takes on the role of Amanda’s intense and demanding mother, while John Hoogenakker portrays her more reserved father. A scene reminiscent of the “Amanda Knox” documentary unfolds as a reporter inquires about a potential film: “The longer you wait, the less valuable her story becomes.” In response, he states, “We don’t view our daughter as a commodity.

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2025-08-19 22:01