Weber’s best-known film from her time at Bosworth, Hypocrites demonstrates the ambitious reach of her early features in both their form and content. In parallel stories Courtenay Foote plays an early Christian ascetic devoted to completing a statue of ‘Truth’ and a modern minister preaching to an apathetic congregation more invested in social standing than genuine piety. The minister, Gabriel, exposes the hypocrisies of his parishioners in a series of vignettes where the figure of the ‘Naked Truth’ holds up a mirror that exposes their true character. Cinematographer Dal Clawson achieves striking effects, as the ‘Naked Truth’ appears to hover over scenes in superimposition. Weber herself does not appear in the film – she acted less and less as the work of writing and directing took up greater amounts of her time – but her authorial role is unmistakably evoked in the film’s prologue. Moreover, we see in the mirror of truth a prefiguration of cinema as ‘Life’s Mirror’, an idea Weber would explore more fully the following year in Idle Wives. A highly controversial film in the U.S., because of its onscreen nudity, Hypocrites nonetheless secured Weber’s reputation among the foremost filmmakers of her era.