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‘United States vs. Reality Winner,’2021 SXSW FF Review:

Reality Winner in 'United States vs. Reality Winner,' directed by Sonia Kennebeck, 2021 SXSW FF (courtesy of Codebreaker Films)
Reality Winner in ‘United States vs. Reality Winner,’ directed by Sonia Kennebeck, 2021 SXSW FF (courtesy of Codebreaker Films)

This chilling documentary directed by Sonia Kennebeck indicates how far government goes to hide damning information. Using video clips of interviews and access to information not released before, the director exposes the facts about Reality Winner’s arrest and incarceration for leaking classified information. Ultimately, Kennebeck elucidates the scurrilous intent of the former Trump Administration to lie and cover-up Russian interference to get Trump elected. In 2017, the 25-year-old Reality Winner took a stand. United States vs. Reality Winner in its World Premiere at 2021 SXSW FF reveals what happened.

Reality Winner leaked the documents shining a spotlight on Trump and the 2016 election. When Trump commented to the contrary about Russia’s help, extensively investigated in the Mueller Report, we can thank Reality Winner’s patriotic, courageous actions. Her whistleblowing led to a high U.S. alert on election security in 2020. However, she still suffers retaliation with the longest prison sentence of its kind under the Espionage Act. Created in the early 20th century, Kennebeck reveals how misapplying the Act in Reality’s case speaks to injustice, punishment and retaliation. Not only did Reality not receive bail, she currently sits in prison today under a plea deal. Her jailing and labeling as a traitor for heroism to alert the public about Putin breaching election security identifies as cruel and unusual punishment.

Kennebeck obtained access to Reality Winner’s interrogation by suing the FBI in a FOIA request a few years ago. Happily, the Biden administration had the tapes released just in time. Acutely editing the audio tapes, Kennebeck intersperses them with audio of a phone call with Reality in prison. To supplement with salient information she uses video clips of interviews with NSA whistleblowers Thomas Drake and John Kirakou. Throughout, the director includes interviews with Reality’s parents, family and friends. In a full revelation Reality’s story comes to light.

Reality Winner in 'United States vs. Reality Winner,' directed by Sonia Kennebeck, 2021 SXSW FF (courtesy of August Chronicle)
Reality Winner in ‘United States vs. Reality Winner,’ directed by Sonia Kennebeck, 2021 SXSW FF (courtesy of Augusta Chronicle)

When we hear the FBI agents questioning her alone outside and inside her house, we empathize. And we especially note her answers with no lawyer present.

Clearly, the documentarian portrays her risks, the danger and her isolation. Additionally, the director, whistleblowers Drake and Kiriakou excoriate the betrayal by the reporters Matthew Cole and Richard Esposito. Winner mailed a copy of the classified document to The Intercept. Unconscionably, to “verify” the document, Cole and Esposito contacted the FBI, as if they didn’t understand it. Coded, encrypted, dated, the FBI knew exactly who had access to it. Of course this led to Winner’s subsequent arrest and being held without bail. That Donald Trump enjoyed election favor by Putin and received his hacking help and interference clarifies in light of this film and Winner’s brave actions.

When agents visited her house, tipped off by The Intercept reporters, their presence shocked her. Believing The Intercept stood by its sources, advertising themselves as a highly credibly online journal, she anonymously sent the document to them. She should have gone to The Washington Post which appears to be one of the soundest, most secure papers for whistleblowers. The Intercept made famous by Edward Snowden, Laura Poitres and others discredited itself by harming Thomas Drake and John Kiriakou. Indeed, the Intercept leaked those NSA whistleblowers to the FBI. During video interviews, Drake and Kiriakou disclose that Matthew Cole’s and Richard Esposito’s integrity as journalists remains questionable. They hint at subterfuge.

The audio tape discloses how the agents calmly, with benign manner questioned her conversationally. Conveniently, they didn’t read her her Miranda Rights. And the questioning lasted for hours. Later, when Kennebeck asked why Winner cooperated, Reality reveals her fear. She feared that they might harm her cat Mina. And she considered that she, herself, might be harmed. In other words, she remained calm, however, alone, she felt she had no recourse but to speak to them. Both Thomas Drake and John Kiriakou, who understand the terror of interrogation, back Reality. Pointedly they and others discuss that the moment the FBI stood on her property, unofficially they cast the net to pressure an arrest. Reality knew that. They had all of the information they needed before they went to her house because of The Intercept.

Reality Winner in 'United States vs. Reality Winner,' 2021 SXSW FF (courtesy of Codebreaker Films)
Reality Winner in ‘United States vs. Reality Winner,’ 2021 SXSW FF (courtesy of Codebreaker Films)

After the arrest, Reality’s parents held protests and spoke to the media. Taking a stand for our free elections, punished with a five-year prison sentence, seems harsh and politically motivated under the guise of “endangering national security.” A foreign power endangered national security. Reality blew the whistle and told the public to heighten the alert to national security. Indeed, those like Paul Manafort, Roger Stone, Michael Flynn convicted for their criminal service to protecting Trump paved the way for Russian meddling and quid pro quos. Yet, Reality’s service to our democracy and the American people in warning us about breaches in election security deserves jail for being a traitor. The reversal is mind-boggling.

Kennebeck highlights Reality’s background, military service, brilliance with languages and qualifications. Indeed, she deserved her high security clearance. In contrast the former administration handed out security clearances undeservedly to unqualified friends and family like candy. On the one hand Reality leaks a document jeopardizing her clearance for a vital moral imperative. Anonymously, she made public election penetration by a foreign power. That attack by Russia remains an extreme danger for our democracy. However, in a corrupt, criminal political culture, the morally bankrupt and corrupt distort right from wrong. Thus, Reality’s justified, heroic action to preserve our elections, the corrupt in the courts and the Department of Justice (Trump) judged as a crime.

Ironically, Kennebeck interviews Edward Snowden from his perch in Russia, the place of the meddling. His presence as a former whistleblower rings hollow. In contrast Thomas Drake who supports Reality with the true grit of one who has been through suffering and retaliation, who stayed and fought for his nation, deserves a National Medal of Freedom. Of course, this won’t happen. However, an impartial, non partisan eye would consider it and for John Kiriakou also. But above all, Reality Winner indirectly delivered our 2020 election alerting us that Russia meddling occurred and it must not happen again. In helping to preserve our democratic process of free elections, she lost her vote. If that isn’t worthy of a National Medal of Freedom, I don’t know what is.

In United States vs. Reality Winner the director raises vital questions.When does leaking a document serve the public interest? Should exposing corruption be retaliated against? Indeed, the film levels judgment against those corrupt who support Reality’s jail time, despite the law breaking and hypocrisy of the former administration. Kennebeck’s laudatory work is a must see. Look for updates on this website about the next screenings. https://www.codebreakerfilms.com/

2021 SXSW FF Reviews: ‘Here Before,’ & ‘Violet’

Narrative Feature Competition film Here Before and 2020 Spotlight film Violet have women as their central characters. Happily, the women directors Stacey Gregg and Justine Bateman approach their subjects and protagonists with authority and sensitivity. In each film the protagonists must stand up for themselves, take their power and establish their agency. Though Here Before takes place in Northern Ireland and Violet in Hollywood, California, by the conclusion we appreciate how both women overcome their internal crises.

Uniquely, Here Before‘s character Laura (the superb Andrea Riseborough) establishes a solid, wholesome, family unit. Interestingly, she keeps it smoothly running even we learn of the loss of their daughter in a car accident years before. Living with the ache in her heart, she encourages their son in his schoolwork and maintains the balance with her husband. However, when a family moves next door in the duplex with a young daughter Megan (Niamh Dornan) the age of Laura’s daughter, circumstances turn inside out

Initially, Megan appears to be canny in her interest in Laura and the family. Returning the interest and fascinated by her, Laura invites her to dinner. Clearly, Megan’s response at dinner reminds her of her lost child, Josie. Events intensify and the son becomes upset that his mom’s obsession seeing and visiting with Megan can’t be healthy. When the husband echoes the son’s comments and expresses his angst, the director throws the audience into the weeds. However, whether Megan channels her daughter Josie, as Laura appears to believe at one point, or as her son considers she’s gone over the bend, the character remains sympathetic.

Psychologically, the stresses caused by, Megan who the husband accuses of lying threaten to break the family apart. Indeed, when Laura challenged by her husband tells him to leave so she can restore order with her son, Stacey Gregg also the writer, shocks us with Laura’s audacity. Clearly, within she tears herself apart by wanting Megan to be Josie. Yet, by yearning for this fulfillment, she fears and she’s losing her hold on reality.

Substantively, Here Before‘s flirtation with the mystical psychological appeals. However, reality lands with a blow and Laura confronts the truth revealed by Megan who wishes the best for both families. Gregg’s strengths of storytelling lie in her editing and shepherding the actors to deliver stunning performances. As they circle around the paranormal and bridge the heavenly and the earthly, we willingly follow Laura’s journey deep into herself. By the startling climax, we understand her statements of forgiveness and reconciliation to what she can bear.

In Violet (Olivia Munn) the titular character reels in a cataclysm of self-doubt. Bateman who also wrote the film creates Violet’s interior monologue that spools in a constant drone of demeaning comments. Ironically, these come in the hyper-critical voice of Justin Theroux. Brilliantly, his snide, cruelty only abates when Violet chooses some self-effacing decision to bow to a male (i.e. her boss or someone else). Interestingly, the acquiescence ultimately infuriates her, as she suppresses her agency and autonomy for another.

Cleverly, Bateman chooses to reveal Violet’s interior rage by fading the screen into a muted red. Ironically, Theroux’s cryptic statement follows, “There! Don’t you feel better?” Of course the antithesis is true. The suppressed rage intimates self-betrayal, accepting someone else’s ideas and abuse. Indeed, Violet retains the power and intelligence to gain agency over herself to respond to them appropriately, but she listens to “the voice. Finally, she discusses “the committee” with a friend and receives help.

Through a number of instances, we note that Violet’s brilliance as a film development executive at a creditable boutique agency places her in forward momentum. Interestingly, the boffos in the agency mistreat her; her boss demeans her with backhanded compliments. Though she ignores their behavior, she takes notice when a black executive who has it together identifies her power and talent and their lame uselessness.

This moment establishes a turning point. And gradually we note that friends like Lila (Erica Ash) abound to her account. The adorable Red (Luke Bracey) provides his caring guidance and support. Incisively, his and other’s love assists, so that she can turn off the “committee” of despots (Theroux’s nasty insults) in her mind. Most probably this committee hails from past negative encounters with her mother, aunt and brother. All it takes for us to understand how misaligned they feel with her includes a few phone conversations and their sardonic facial expressions. Obviously, not close to her brother who resents her, she finally decides to separate, choosing her mother’s funeral to cut the hangman’s noose.

Clearly, Bateman wants the audience to feel and understand the hellishness of Violet’s careening upheaval within, under the duress of her own internalized Nazi. Can she rescue herself from herself? When distinguished looking guys from another outfit approach Violet and offer her a plum position, we hope she takes it. Instead, loyalty to her miserable boss Tom Gaines wins out. Then occurs a superb moment in the film. Helped by Red’s growing love she asserts herself. She explodes the myths Gaines uses to embarrass her for the last time. I imagine this marvelous scene in a theater without the pandemic yielding a chorus of cheers and loud applause.

On her first directing venture Bateman shepherds the rest of the cast to provide a satisfying conclusion after Violet kicks the horrific Nazi to the curb. However, until that occurs, one moves from one nail-biting encounter to the next, happy when loving friends show up to soothe.

For updates on film screenings, go to the website: https://www.violetthefilm.com/

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