What reads like an onion‑layered cinema story began with a 1978 affair and ended up on screen in 2012. Polley grew up believing Michael Polley, the man who raised her, was her father; as an adult she followed a tip and met Harry Gulkin, a Quebec‑born film producer (best known for producing the 1975 Canadian classic Lies My Father Told Me). Gulkin told her he had had an affair with her mother Diane in Montreal; his paternity was later confirmed by DNA. Polley turned that raw, destabilizing personal revelation into Stories We Tell (2012), a documentary that interrogates family myth, performance, and the construction of memory by layering interviews, archival footage and staged sequences. The film premiered at Venice and TIFF, won critical praise for its formal bravado, and reopened public scrutiny of private betrayals—exposing how studio‑era mythmaking and intimate family secrecy can mirror each other. The episode left lasting scars in Polley's family and reshaped her public narrative from child star to truth‑telling auteur.
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