Winner
Russia’s meddling in the last Us presidential elections was leaked by a Texan NSA contractor called Reality Winner. Through working class parentage, her name itself makes her sound unique. Due to her critical stance on the United States’ domestic and foreign policies, Winner became a subject of multiple films. These include a 2021 documentary titled after her, ‘Reality Winner,’ and a last year’s fictional film titled ‘Reality,’ which is an adaptation and artistic interpretation of the lady’s harassment, arrest, and interrogation accounts. Tina Satter directed the film and describes it in the following words: “It’s a really contained film,” and adds that “it’s very often a provocative one.” Apart from that, Synthesia, she brings to our attention some astounding recreations of the real-life events that were combative in their structure. At this point, it is important to note that in the movie “Winner,” directed by Fogel, the controversial woman finally utters the famous phrase, “you won’t help me understand how I got here”.
Emilia Jones, portraying Reality Winner, takes us to the first day of her arrest, boldly stating that people who think she is a ‘traitor’ also believe she is a ‘hero.’ It was then that she decided to neglect some prosecution undertones. However, that motivation is quite mild and very unfrontal, and can hence depict her as odd rather than somebody who inherent qualities of that magnitude.
As seen in the initial vignettes, her father (Zach Galifianakis) has nearly unmatchable power in determining her worldview one that heavily criticizes those who tread on certain authorities or injustices.
Here in Bush’s case, we see that the administration used 9/11 as a valid reason to bomb Iraq which made Reality self-teach Arabic and Pashto while still in high school. She later went off to the Air Force with hopes of getting on ground deployment in Afghanistan as a translator. That did not come to be, and instead she was put in an office where she translated conversations between ‘terrorists’ to justify Airstrikes during the Obama Administration until the NSA started calling.
The director, who had collaborated with Jones on the previous fiasco ‘Cat Person’, also adapts working off a screenplay from Kerry Howley and describes Reality’s turmoil and the effects of her work sacrificed in the name of protecting the homeland through the use of montages.
As a way to fulfill her part of the bargain for killing plenty of people (some of whom were believed to be plotting attacks but most were innocent bystanders) Reality has taken voluntary steps of cleaning bedpans and doing exercises until exhaustion so that thoughts do not arise.
All these dealings look like a bargain she is doing with her conscience in order to feel she is a moral person. This is how far character development goes around here. Jones, who gained fame with the Oscar winner “CODA”, does impress her charm and plays Winner as a lady who doesn’t care for societal rules about dating and friends. Still, she does maintain that she feels wronged in the part. The shift comes out as one tone, nearly the same as the young ladies she played in “CODA” or even in “Cat Person.” Instead of the actor trying to become the character, Jones seems to make the character suit her instead.
As a character study “Winner,” however, manages to deal with one thing a true darkness of the government, the willingness to deceive the population in the name of national security. That truth is real, the real winner was imprisoned for doing such a terrible act which was exposing the truth. This fact should really scare any American who is naive enough to believe that truth is ever a priority for powerful men. For all the biographical data that Fogel puts out here, reality is still one dimensional and remains just that.
The court case, her character assassination on national television, and even the purging agony of serving her imprisonment after a selfless life, and admirable conduct, are such few events of the last act that the tediousness of the film is enhanced.
In the last moments, a fraction of footage is reserved for the work of her mother, Billie Winner (here beautifully performed by Britton), who tries to justify her daughter and who criticizes the United States. This part has not been developed so far more than the suggested option could have been attractive. One of the most conspicuous absentees in the film “Winner” is the ambivalence that a person in the position of Reality may be expected to possess. The eternal wish to do good led her to actions which she truly believed to be ones that are in the interests of her country. It must have been devastating for her to realize how the system functions when such an act brings her opposition and imprisonment. How can one continue to have faith in the country which says that it should be the case, and yet treats one like an enemy? This trivial treatment of her life does incredible injustice to these painful sentiments.
Cinematically defunct in the light of the other two films about Reality Winner, Fogel’s treatment at least must tell other producers of this story that enough is enough and it’s time to change focus.
This country is brimming with them.
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