Leonard Fife lies in a bed in Montreal, diminished by cancer and surrounded by the clutter of a life that many treat as legend. Filmmakers and activists have long praised his investigative documentaries, and a devoted segment of the Canadian left elevates his work into heroic myth. Reporters and admirers trade stories about how, decades before, Leo slipped out of the United States, crossed into Quebec to avoid being drafted into the Vietnam War, and then set off on an impulsive road trip that took him to Fidel Castro's Cuba. In his final days he consents to be the subject of a documentary for the CBC. Two of his former students, Malcolm and Diana, arrive to record his recollections; Malcolm assures Leo and the producers that the film will be a flattering career retrospective.

Leo accepts the project for a different reason. Though Malcolm expects to trace the arc of his films, Leo makes clear that he wants to use the cameras to confess to the people he has hurt, particularly to Emma, the woman who is now his wife and who was once his student. Emma is skeptical about the process and about Leo's motives, and she arrives with guarded restraint. Malcolm sets up lights, checks sound levels and positions the boom microphone while Diana, who also once had an intimate relationship with Leo, stands off to the side watching.

As the interview begins, Leo's voice is raspy from chemotherapy and his speech slips between lucidity and fog induced by prescription fentanyl. He recounts the stories the public already knows--his early films, his contentious exposes--but he keeps steering the conversation toward his personal failings. Malcolm attempts to steer the narrative back to the work, promising archival footage and a standard celebratory framework, but Leo keeps claiming that the work owes much to the private choices he made. He says he has lied to the public many times and abandoned many women; he says he wants to tell the truth now that death is near.

The camera trips him into memory. The film cuts into scenes from his past. Before he ever became the fixture in Montreal, Leo is a young, aspiring novelist living in Virginia. He resides in a house near Charlottesville with his wife Alicia, who is pregnant, and their son Cornel. His in-laws live nearby and imbue the household with a secure, conservative gentility. Leo feels constrained by their expectations and restless about settling into the safe course his father-in-law advocates. The University of Virginia offers him a position he keeps from Alicia; instead he accepts a job at Goddard College in Vermont, a decision he knows will unsettle the family. He travels to Vermont to purchase a house near the college, and the money for the property comes from Alicia's parents. Her father, in an attempt to keep Leo in Virginia, offers him training to take over the family business and gives him a week to decide whether he will remain. He hides that offer from Alicia and departs.

The narrative shows his departures not as a single dramatic scene but as a series of evasions. When conflict mounts at home, Leo chooses flight. He leaves Virginia and crosses state lines into Vermont, then drives north toward the Canadian border. Voiceover by an adult Cornel plays over one of these sequences: Cornel explains that he does not see his father for three decades, that Leo becomes a man who is famous in another country while his son grows up without him. Emma, listening to the interview playback, tries to stop the cameras. She tells Malcolm that Leo is mentally unstable because of the cancer and that his fentanyl prescriptions are altering his perceptions. She insists that Leo cannot be trusted to tell a coherent account. Malcolm and Leo both push to continue recording; Malcolm, sensing the sensational candor of Leo's claims, now recognizes he can shape the material into an exposé that will astonish viewers.

In his recollections, Leo admits to numerous betrayals. He remembers stealing money from a family friend who had given him a job after his decision to drop out of college. He remembers seducing both Diana and Emma when he taught at the college; in separate scenes, he seduces Diana with casual charm late at night in a cluttered office and, on another occasion, manipulates Emma with a flattery that carries into a clandestine winter encounter. He recalls having sex with other women while his first wife Alicia is pregnant. He also confesses to fabricating a story about having traveled to Cuba, a public lie delivered to enhance his legend.

Emma, who watches Leo recount these transgressions, recounts her own memories. She remembers the moment years later when a grown Cornel approaches his father at a film festival in Montreal. Cornel identifies himself, and Leo responds coldly, telling the young man that he has no son, a line intended to deflect shame and avoid an emotional scene in public. Emma takes Cornel aside after that festival; they speak privately but Emma refuses his request to maintain contact. She explains that she cannot allow her own life to be defined by the reminders of Leo's past deceptions. Those encounters replay in intercut scenes that contrast Leo's public acclaim with the private wounds he leaves behind.

The film shifts back to the time of Leo's departure from the United States. He visits an old friend named Stanley, another artist who had expected Vermont to renew his creativity. Leo is disappointed to learn that the move did not breathe new life into Stanley's painting career; Stanley remains frustrated and stagnant in his own studio. That evening, Leo receives word that Alicia has miscarried. Despite the news and the worsening strain at home, he goes to a private gathering at Stanley's house, where Stanley's wife, Gloria, propositions him sexually. Gloria confesses to having an affair with Stanley, and she offers herself to Leo in the heat of the moment. Leo accepts her advance. These scenes are shown without melodrama: the characters speak in low voices; the camera lingers on hands and the small gestures of infidelity.

The sequence that led to Leo's emigration is not a single moral rupture but a cascade of choices. At another moment he explains how he avoids the draft: he claims to other men that he is gay to secure a deferment. Later in speech and in memory he tells Malcolm that his stated reasons for leaving--fear of combat--were a public narrative that hid other motivations. He says he is aware of the dissonance between who he became and the escape he sold the press. The younger Leo walks north toward the border, raises his face to the sun, and keeps walking as if the gesture imposes a new identity.

Back in the present-day interview setting in Montreal, Leo's narrative becomes fragmented by the drugs and the cancer. Emma grows increasingly tense and finally stands to end the interview when Leo's breathing shifts into a more labored pattern. Malcolm protests but allows her to stop the formal questioning. As the crew packs up lights and equipment, Malcolm's assistant slides a small, concealed camera into a pocket and continues to record. After the technicians leave, a CBC broadcast carries the Canadian national anthem across the airwaves. Leo, lying in a chair near an open window, listens. The hidden camera, still rolling, records his last audible words: he says, "Oh, Canada." His voice breaks on the phrase. No one in the room performs a ceremonial closure; instead, the small device captures that one utterance after the anthem fades.

Throughout the film, Leo's public persona and the private facts of his life collide. Friends and former students appear in archival footage and in present-day interviews to corroborate details he provides: he seduced students he taught, he took credit for moral crusades while misrepresenting parts of his life, he lied about visiting Cuba as if publicity required exoticism. The documentary filmmakers collect these testimonies and assemble them against a record of his documentaries' premieres and prize ceremonies. Malcolm, who begins with the intention of producing a celebratory portrait, now realigns the footage to include the admissions Leo makes in the interviews and the interviews he refuses to give.

In the end, the film shows the day Leo crosses the Canadian border, younger and hopeful, and then the sick man in Montreal who tells the cameras about his choices. He does not die violently; no other character kills him. He succumbs to the disease. The recording captures his last day's small gestures: the way he raises a hand when Malcolm asks about his motivations, the way he winces when photos of his younger self are brought out, the way he looks at Emma when he tells her he has been dishonest for decades. When Emma ends the recorded interview and the crew prepares to leave, Malcolm's assistant surreptitiously keeps filming. After the CBC plays the national anthem for a scheduled broadcast moment, Leo murmurs "Oh, Canada" into the still-running lens. His voice is soft and nearly lost in static, but the line is distinct.

The film closes on an image of the young Leo stretching his arms toward the sun as he steps across the border, then cuts to the quiet hospital room in Montreal with the empty chair where he has been sitting. There is no final confrontation, no scene of revenge. Leo dies in relative solitude; there is no last-minute reconciliation between him and Cornel on-screen. Cornel's voiceover, which explains that he did not see his father for thirty years, continues to play over the closing images, supplying the last factual account of how Leo's personal decisions severed a father-son relationship for decades. The final shot shows the younger Leo walking northward into a new life, while the older Leo's last recorded word--"Oh, Canada"--lingers as the credits begin to roll.

The ending of Seduced By His Lies (2025) reveals a deadly culmination of the real estate scam and the tangled relationships. Terri discovers the murdered body of Isabella, a fellow victim, and realizes the danger is closer than she thought. Marcus, initially an ally and romantic interest, is revealed to be violent and unstable, killing his own lawyer and trying to manipulate Terri. The story closes with Terri refusing to be controlled, standing strong against Marcus's threats, while Marcus spirals into violence and self-harm, leaving their fate uncertain but clearly fractured.

Now, narrating the ending scene by scene in detail:

Terri returns home from a work trip to find Marcus, a stranger, living in her newly purchased townhouse. They quickly become involved romantically, but Terri remains cautious and continues investigating the real estate scam that brought them together. She visits her neighbor Isabella, another victim, only to find the door unanswered. Entering the house, Terri discovers burned photographs in the sink and, shockingly, Isabella's dead body inside. This grim discovery marks a turning point, revealing the scam's deadly consequences.

Meanwhile, Anna, another character connected to the scam, meets with Marcus's lawyer, discussing plans to finalize the townhouse sale for a large sum, hinting at ongoing criminal activity behind the scenes.

Back at the townhouse, Marcus and Terri share an intimate night, unaware that Isabella is being murdered nearby. The next morning, the romantic bubble bursts when Marcus demands Terri stop her investigation and forbids her from going out alone. Terri firmly rejects this control, asserting her independence.

Terri then confronts Marcus's workplace, where she learns he is a known cyberstalker banned from local gyms, targeting blonde women. This revelation casts Marcus in a sinister light.

In a violent climax, Marcus meets with his lawyer and unexpectedly punches him in the face, killing him. Then, in a disturbing act, Marcus punches himself and slaps himself repeatedly, claiming the lawyer attacked him.

Terri, confronted with Marcus's instability and violence, refuses to be manipulated or controlled. The film ends with Marcus's violent breakdown and Terri's resolve to stand her ground, leaving their futures ambiguous but clearly marked by betrayal, danger, and fractured trust.

In summary, the main characters' fates at the end are:

• Terri: Survives, determined not to be controlled, continuing to fight against the scam and Marcus's manipulation.
• Marcus: Descends into violence and self-harm, having killed his lawyer, his fate left uncertain but clearly troubled.
• Isabella: Found dead, a victim of the scam's deadly consequences.
• Anna: Involved in the scam's cover-up, meeting with the lawyer to finalize the sale.

This detailed ending highlights the film's themes of deception, control, and the dangerous consequences of trust misplaced. The narrative unfolds with suspense and escalating tension, scene by scene, culminating in a violent and unresolved climax.

Yes, in the 2025 movie Seduced By His Lies, two characters die under violent and suspicious circumstances:

• Isabella is found dead by Terri when she visits Isabella's house to investigate the real estate scam. Terri discovers Isabella's burned photos in the sink and her dead body inside the house, indicating Isabella was murdered. The exact timing is when Terri is actively investigating Marcus and the scam, shortly after returning from her overseas trip.

• Marcus' lawyer is killed by Marcus himself. In a violent outburst, Marcus punches the lawyer in the face, killing him. Afterwards, Marcus also assaults himself, claiming the lawyer attacked him. This murder occurs during the unfolding investigation and heightens the danger surrounding Marcus and the scam.

These deaths are central to the plot's tension, revealing the deadly stakes behind the real estate scam and Marcus' dangerous nature.

The movie Seduced By His Lies (2025) does not have any confirmed post-credit scene based on available information. Reviews and summaries focus on the main plot twists, suspense, and character dynamics but do not mention any scenes after the credits.

The sources describe intense moments and revelations during the film, such as Terri discovering a murder and the real estate scam, but no indication of a post-credit scene or extra footage is provided. Unlike some other 2025 films that feature post-credit scenes (e.g., Sinners with a musical epilogue and character reunion), Seduced By His Lies appears to conclude its story within the main runtime.

Therefore, there is no post-credit scene to describe for Seduced By His Lies (2025).

Marcus Keller is a mysterious stranger found living in Terri's newly purchased townhome, both believing they are victims of a real estate scam. Initially, he and Terri team up to expose the criminals, and a passionate relationship develops between them. However, Marcus is revealed to be a complex character involved in darker deeds, including being a cyberstalker banned from local gyms and ultimately killing his own lawyer, whom he also assaults himself to fabricate a story. His true motives and actions blur the lines between ally and adversary throughout the film.

Terri investigates the scam by contacting Isabella, another victim, and visiting her house. She finds burned photos and Isabella's dead body, indicating the scam's deadly consequences. Despite Marcus's warnings to stop investigating and attempts to control her, Terri persists, uncovering more dangerous truths about the scam and those involved, including the realtor and the lawyer.

The lawyer represents a sinister force tied to the real estate scam. He is involved in trying to 'tie up loose ends' before selling the townhouse again. Marcus meets with the lawyer, kills him by punching him in the face, and then assaults himself to claim the lawyer attacked him. This sequence reveals the lawyer's role in the criminal scheme and the lengths characters go to cover their tracks.

Terri and Marcus's relationship begins with mutual attraction and cooperation to expose the scam. They share intimate moments, including sex, even as dangerous events unfold around them. However, their romance becomes strained when Marcus tries to control Terri and stop her investigation. The tension between desire and distrust escalates as Terri refuses to be controlled, highlighting the complex dynamic between them.

Anna is a character who meets with the lawyer, instructing him to 'tie up loose ends' before selling the townhouse for another million dollars. This suggests she is involved in orchestrating or benefiting from the real estate scam. Her role adds another layer of deception and ruthlessness to the criminal network behind the scam.

The movie Seduced By His Lies (2025) is rated TV-14, indicating it is generally not considered family-friendly for young children or very sensitive viewers due to its mature themes and content.

Potentially objectionable or upsetting aspects include:

• Themes of real estate fraud and deception, which involve suspense and danger.
• Scenes involving threats or violence, as suggested by the mention of multiple kills (4 knives) in the movie.
• A thriller atmosphere with tension and betrayal, including a complex web of lies and potential danger to the protagonists.
• Elements of romantic/sexual tension between the main characters, which may be intense or suggestive.
• Some scenes may involve adult situations or emotional distress related to trust and betrayal.

No explicit plot spoilers are revealed here, but the movie's tone and content suggest it is more suitable for mature teens and adults rather than children or highly sensitive viewers.