It was supposed to be the political comeback film for the disgraced former US congressman, Democrat Anthony Weiner, who resigned following a sexting scandal in 2011. Directors Josh Kriegman (a former Weiner aid) and Elyse Steinberg were given unprecedented access to Weiner, his family and his campaign team to make Weiner, a compelling yet excruciating, award winning, fly-on-the-wall documentary that chronicles Weiner's 2013 New York mayoral run.
But instead of the redemption story, events take an unexpected twist when Weiner - who is married - is forced to admit to new sexting allegations. The situation rapidly descends into political farce and tragedy, in which Weiner's hubris is played out in front of a bloodthirsty media, baying for information about his private life. Interspersed with moments of humour, Weiner is an unflinching portrait of the ex-congressman's spectacular, self-induced political demise.
"He's scrappy, he's combative, he's always been a great fighter on behalf of the people," says one commentator at the film's start.
Weiner was a career politician, a passionate orator who fought against the Republicans who tried to block healthcare assistance for 9/11 rescue workers. Early on in the mayoral campaign, the charismatic rising star is ahead in the polls. He is full of energy - we see him bounding among the crowds during a Gay Pride march, engaging with the public with ease.
But we also see him in a more intimate setting at home with his wife, Huma Abedin, a long time, close advisor to Hillary Clinton, and their baby son. Although this is primarily a film about Weiner, Abedin plays a major role and the couple's relationship is under the spotlight.
It seems that Abedin, like the electorate, has forgiven him. She admits that, "it took a while and a whole lot of therapy" but by the time the second scandal breaks and Weiner is revealed to have been using the rather dubious online alias, "Carlos Danger," the tension between them is palpable.
Although composed, even steely in front of the camera, Abedin's folded arms, awkward silences and visual expressions convey strain and humiliation. Yet she still stands by her man.
At times, watching Abedin can feel voyeuristic, particularly as she appears so uncomfortable once the campaign progresses and the scrutiny intensifies. Weiner, on the other hand, is a natural performer and seems to relish the attention.
Weiner's ego is challenged but remarkably unshaken in an angry interview exchange with MSNBC cable network presenter Lawrence O'Donnell, who asks the crucial question we all want the answer to, "What's wrong with you?"
Later - in what is perhaps the best example of Weiner's vanity and narcissism - when he is watching the playback of the interview at home in his apartment - he's crowing, proud of his performance.
Abedin, unable to sit down, is less amused. "Why are you laughing? It's bad."
By four weeks to election day Weiner's popularity has plummeted. Despite advice to the contrary, he refuses to pull out of the race. Eventually, the chaos and press hysteria reach levels of absurdity culminating in the execution of the so called "McDonald's Plan" on election night.
In an attempted publicity coup of her own, Sydney Leathers - code-named "Pineapple" by Weiner's team and one of Weiner's sexting partners - is waiting outside his campaign office. To avoid being seen with her, Weiner has to be sneaked through the next-door fast food restaurant. With the paparazzi hounding his car, Weiner raises his middle finger at them in a lasting gesture of defiance.
Weiner finished last, taking just 4.93 per cent of the vote. The film does not take a point of view and its objectivity is commendable but also frustrating. There is no real insight into Weiner's behaviour nor any explanation as to why Abedin stayed by his side.
Weiner expresses no regret, telling the filmmakers off camera, "I wanted to be viewed as the full person that I was and I can't believe that my entire everything is being engulfed by this thing." Perhaps that is one of the reasons why he has chosen not to see the film. And its success is that, despite its protagonist's shortcomings, it is unclear who comes out worst: the marauding press or the flawed politician.
