Alien Autopsy 2006
Directed by
Jonathan Frakes
Made by
Ealing Studios
Alien Autopsy Plot Summary
Read the complete plot summary and ending explained for Alien Autopsy (2006). From turning points to emotional moments, uncover what really happened and why it matters.
Framed by Ray Santilli and his friend Gary Shoefield as they recount the events to documentary filmmaker Morgan Banner, the narrative unfolds as a cautious, curious chronicle of a discovery that blurs the line between fakery and belief. The film traces a path that begins in 1995, when the duo head to the United States in search of Elvis memorabilia to sell on a London market stall run by Ray, hoping to strike it rich through a once-in-a-lifetime find. Their quest leads them into the orbit of Harvey, a former US Army cameraman who offers them a silent black-and-white recording of Elvis performing live, only to return with a second, more tantalizing proposal: a 1947 film that allegedly documents the autopsy of an alien from a UFO crash near Roswell, New Mexico, pitched to sell for $30,000.
Back in England, the search for an investor continues, and Ray persuades Laszlo Voros, a Hungarian art and drug dealer obsessed with crop circles, to supply the money and secure the mysterious film. Once the film is retrieved, the pair confront a harsh truth—the footage has degraded from humidity and heat, rendering it unwatchable. To avoid serious repercussions from Voros, they improvise a solution: they recreate the alleged alien death scene themselves, transforming the living room of Gary’s sister into a makeshift studio, fashioning a convincing dead alien from a mannequin and meat purchased from a butcher, and shooting with a Bell and Howell spring-wound camera. Ray hands Voros a copy of the finished product, and Voros accepts it as genuine, setting the stage for a lucrative but precarious venture.
Buoyed by their success, the pair begin selling the film to various venues, securing a substantial payoff. That momentum is threatened, however, when Voros suddenly demands 80% of the profits. The tension reaches a dramatic turn when Voros is killed by a green Land Rover while standing naked in a crop circle, an event that sparks widespread speculation about CIA involvement. The story then shifts to Argentina, where Ray and Gary promote the film under the scrutiny of Amber Fuentes, a reporter who seduces Ray and tracks down Harvey. To protect the anonymous source, they stage an interview with a homeless former actor portraying Harvey, which persuades Amber of a degree of credibility, though she remains skeptical about the film’s authenticity.
As the film’s aura continues to intrigue, Ray and Gary become convinced that some fragments of the original 1947 footage might be recoverable by film restoration experts. After they view the results, they confront a decisive moral choice: bury the film and walk away, acknowledging that they cannot continue with the ruse, whichever truth—real or manufactured—they choose to pursue. The tale thus weaves together ambition, deception, and the elusive pursuit of proof, leaving questions about whether what they pursued was a hoax, a miracle, or something in between.
Alien Autopsy Timeline
Follow the complete movie timeline of Alien Autopsy (2006) with every major event in chronological order. Great for understanding complex plots and story progression.
Frame narrative with Morgan Banner
The film opens with Ray Santilli and Gary Shoefield recounting their experiences to documentary maker Morgan Banner. They frame the entire story as a testimony, setting up questions about authenticity. The frame underscores the tension between documentary storytelling and sensational claims.
Elvis memorabilia hunt begins (1995)
In 1995, Ray and Gary travel to the United States to search for Elvis memorabilia to sell on their London market stall. They meet Harvey, a former US Army cameraman, who promises access to material that has been unseen for years. Harvey shows them a silent black-and-white film of Elvis performing live, hinting at more valuable footage to come.
Discovery of the 1947 Roswell film
Harvey returns with a film from 1947 depicting the autopsy of an alien purportedly killed in a Roswell crash and offers to sell it for $30,000. Ray travels back to England with the plan to finance the purchase, eager to leverage the sensational find. The prospect promises a huge payoff but also serious risk.
Funding from Voros
Back in England, Ray convinces Laszlo Voros, a Hungarian art and drug dealer obsessed with crop circles, to fund the $30,000 purchase. Voros agrees to back the venture, drawn by the promise of large profits. With Voros on board, they prepare to bring the film to market.
Film degrades and a fake is born
Returning with the film, they discover it has degraded from humidity and heat and is unwatchable. To avoid repercussions from Voros, they decide to recreate the film rather than show the damaged reel. They base the reconstruction on Ray's memories and assemble a lifelike alien using a mannequin and butcher's meat, staging the scene in a friend's living room.
The fake is sold to Voros and planned distribution
They shoot the recreated sequence on a Bell and Howell spring-wound camera and deliver a copy to Voros, who believes it to be genuine. The hoax is designed to be sold to other venues for substantial profits. The plan hinges on maintaining the illusion of authenticity across future screenings.
Voros' demand and the crop-circle death
Voros demands 80% of the profits, pushing the duo into a dangerous power struggle. Voros is killed by a green Land Rover while standing naked in a crop circle, sparking rumors of CIA involvement and implying the stakes are higher than they realize. The murder both removes an obstacle and deepens the conspiracy.
Argentina trip and Amber Fuentes
Ray and Gary travel to Argentina to promote the film, followed by reporter Amber Fuentes who seduces Ray. Amber tracks down Harvey and pressures the team to keep him anonymous, prompting them to stage an interview with a homeless actor playing Harvey. Amber remains skeptical about whether the footage is authentic.
Restoration and decision to bury
The pair become convinced that some of the original 1947 footage might be recoverable through professional restoration. They view the results, hoping for proof, but the restored material fails to convince them to continue the project. Ultimately, they bury the film and resolve not to pursue the hoax any further.
Ending frame and reflections
Back to the present framing, Ray and Gary reflect on the ethical costs and implications of their hoax as Morgan Banner watches. The documentary maker's doubt mirrors the audience's lingering uncertainty about the footage's authenticity. The timeline closes on a cautionary note about mixing sensational storytelling with truth.
Alien Autopsy Characters
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Ray Santilli (Declan Donnelly)
Ray is a quick-witted English businessman who orchestrates the elaborate hoax around an apparent alien autopsy. He travels to the US seeking material for a sale and leverages others’ ambitions to monetize the discovery. His pragmatism and willingness to bend the truth drive the central deception.
Gary Shoefield (Anthony McPartlin)
Gary is Ray’s friend and co-conspirator, acting as the practical counterweight who helps execute the fabrication and manages relationships with investors and media. He pushes the plan forward even as risks escalate, testing loyalty as the lie grows.
Harvey (Harry Dean Stanton)
Harvey is a former US Army cameraman who provides the initial ‘authentic’ footage and catalyzes the pursuit of a sale. He represents a link to past glory and the leverage that leads Ray and Gary deeper into the hoax. His involvement intensifies the stakes and moral ambiguity.
Laszlo Voros (Götz Otto)
Voros is a Hungarian dealer obsessed with crop circles and the currency of conspiracy, acting as an early investor who later becomes a dangerous obstacle. His appetite for sensational content drives the financial pressure and power dynamics. His eventual fate underscores the peril of chasing dangerous buyers.
Amber Fuentes (Nichole Hiltz)
Amber is a journalist who follows the story across continents, seducing Ray and probing the footage’s authenticity. She embodies the tension between sensationalism and evidence, offering a skeptical counterpoint to the hoax’s profitability.
Morgan Banner (Sam Douglas)
Morgan Banner is the documentary maker to whom Ray and Gary narrate their tale, framing the events as a potentially groundbreaking discovery. He embodies the media gaze that shapes what counts as truth and pushes the story toward broadcast relevance.
Alien Autopsy Settings
Learn where and when Alien Autopsy (2006) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
1995
Primarily set in 1995, the narrative follows Ray and Gary as they chase money and opportunity. The plot centers on a supposed 1947 alien autopsy film that underpins the hoax, tying the present story to a historic, sensational artifact. The era’s media culture and appetite for extraordinary stories frame the actions and decisions of the characters.
Location
Miami, Florida, England, Roswell, New Mexico, Argentina
The story spans multiple locations: the US (Miami) where the initial film is encountered, then back to England to pursue investment, followed by Argentina for promotion, with the Roswell setting referenced in the 1947 footage. It travels from the United States to the United Kingdom and back, reflecting the hoax’s globe-spanning footprint. The environments range from street-level market stalls to a living room converted into a makeshift film set, underscoring the concocted nature of the project.
Alien Autopsy Themes
Discover the main themes in Alien Autopsy (2006). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
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Deception
The film centers on a deliberate fabrication: two English conspirators create a convincing alien autopsy to cash in on public fascination. It examines how spectacle can be accepted as truth when presented within a documentary frame. Authenticity becomes a currency that drives risk, negotiation, and manipulation.
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Profit
Ray and Gary manipulate collectors, dealers, and media interests to monetize the footage. The hoax exposes the mercenary side of fringe culture, where fame and fortune hinge on the ability to sell belief. The pursuit of money pushes the scheme toward increasingly audacious deception.
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Media Framing
Told through a documentary lens, the story tests the idea that presentation shapes reality as much as facts do. Morgan Banner’s involvement highlights how narrative framing can tilt perception toward credibility. The film critiques how media tropes can turn fabrication into a believable narrative.
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Memory & Fabrication
The duo reconstructs the autopsy from memory and improvised props, showing how recollection can be warped to fit a desired story. Memory becomes a scaffold for deception, especially when reinforced by others in the network. The line between memory and fabrication is central to the film’s crisis of truth.
Alien Autopsy Spoiler-Free Summary
Discover the spoiler-free summary of Alien Autopsy (2006). Get a concise overview without any spoilers.
In 1995 a peculiar clash of curiosity and commerce ignites when two British documentarians stumble into the lingering myth of the Roswell incident. The film treats the real‑world controversy as a playground for satire, blending dead‑pan humor with a glossy, almost documentary‑style sheen. By framing the story as a recounting to a documentary filmmaker, the narrative constantly teeters between earnest investigation and playful exaggeration, inviting the audience to question what they’re being shown while reveling in the absurdity of a world that profits from mystery.
At the heart of the tale are Ray Santilli and Gary Shoefield, a charismatic partnership defined by equal parts entrepreneurial zeal and gullible optimism. Ray runs a bustling London market stall, forever on the hunt for the next rare find, while Gary supplies the technical know‑how and steady nerves needed to turn a wild tip into a sensational product. Their collaboration is observed by Morgan Banner, a skeptical filmmaker who serves as a narrative conduit, gently probing their motives and exposing the thin line they walk between discovery and deception. Along the way, they encounter eccentric figures such as Harvey, a former army cameraman with a mysterious reel, and Laszlo Voros, an art dealer whose obsession with the uncanny adds both pressure and intrigue to their venture.
The movie’s tone is a tongue‑in‑cheek homage to media frenzy, capturing the glossy allure of sensational headlines while underscoring the uneasy dance between truth and fabrication. Its style oscillates between brisk, witty dialogue and moments of almost documentary gravity, creating a rhythm that feels both familiar and off‑kilter. As the duo navigates the labyrinth of investors, skeptics, and the ever‑watchful public eye, the film remains a witty meditation on the lengths people will go to chase fame, belief, and the tantalizing promise of a story that might just be too strange to be true.
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