As Mika Wusterland demonstrates, popular discourses around deepfakes are primarily concerned with the ability to create a historical event that can pass as “real” (39). Yet, as Vivian Sobchak argues, “the ‘events’ of the twentieth century are less inherently novel than the novel technologies of representations that have transformed ‘events’” (4); in the twenty-first century, deepfakes are a representational technology that ruptures traditional understandings of historical events. From this perspective, deepfakes capture “the loss of a determinate historical document” and, in turn, surface the contemporary instability inherent to representing historical events (ibid., 6). This paper will explore how foregrounding deepfakes’ spectacular digitally-generated verisimilitude allows for the technology to become a potential cinematic technique able to intervene as a tactic for providing anonymous witness testimony; as a database visualization technique; as a form of documentary reenactment; and as counterfactual and alternate historical texts. T