Brionowski’s construction of a complex, multi-layered and symbolically loaded soundscape in the selected sequence of ‘Forbidden Lie$’ is an integral factor in the establishment of the contention she presents in the film. In the early sections of the sequence, Brionowski layers a trite musical track with several prominent sound effects– various chimes, the billowing of fabric being thrown into the air and an exaggerated ‘splat’ as Dahlia’s hijab hits the ground. The factors combine to cheesy effect comparable to 1960s sitcom soundscapes, it becomes evident that Brionowski is here alluding to the artifice of Kouri’s account and the stylistic flourishes slathered over the author’s telling of events to conceal it’s factual inaccuracies. As the scene reaches a dramatic crescendo, Brionowski dismantles Kouri’s account in a matter of seconds through the use of instantly decodable tape wipe and wind sweep effects and the clear voice of Rana Housseini. Indeed, it is essential to note that the effects Brionowski chooses to employ prove narratively and stylistically effective in this instance because both their source and meaning is instantly recognisable to audience members, for example, she subtly discredits everything Kouri says by layering her clear, studio-shot interview footage with a series of ‘chime’ and ‘rattlesnake’ effects, instantly synonymous with deception. Later in the sequence, the introduction of a rambling musical track with notable Middle Eastern influences simultaneously contextualises Brionowski’s travels in Jordan and gives the impression of a  wild goose chase along the series of factual discrepancies Kouri has included in her account of her friend’s murder.