Winner – Film Review

Susanna Fogel’s Winner is an unusual entry in the genre of biographical dramas, straddling the line between black comedy and an indictment of modern surveillance states. Based on the life of Reality Winner—an NSA contractor who leaked an intelligence report about Russian interference in the 2016 United States election—the film paints a picture of moral complexity and a deeply conflicted individual. With a sharp script by Kerry Howley, Winner taps into the absurdities of Winner’s situation, and Emilia Jones delivers a dynamic, yet understated performance as the titular figure.

The film starts with Reality Winner (Emilia Jones) in her day-to-day routine as a linguist and NSA contractor in a nondescript town in Georgia. She leads an ordinary life, filled with mundane activities like CrossFit workouts and interactions with her mother, Billie (Connie Britton), and sister, Brittany (Kathryn Newton). It is only when Reality encounters an intelligence report that proves Russian interference in the 2016 election that her seemingly simple life takes a dramatic turn.

The plot follows her decision to leak this classified information, her subsequent arrest, and the bewildering investigation that ensues. From the start, Winner frames her decision to leak the document as both an impulsive and principled act, leaving the audience to question her motivations and the broader consequences of her actions. The film plays heavily on the tension between Reality’s ordinary, almost banal existence, and the extraordinary ramifications of her whistleblowing. Fogel’s direction cleverly contrasts these two worlds, making the viewer feel the dissonance Reality herself must have experienced.

Emilia Jones stands at the heart of the film, and her performance is central to its success. She brings a refreshing blend of vulnerability and conviction to Reality Winner, portraying her not as a crusader but as a regular person who finds herself in an extraordinary situation. Jones’ subtle expressions capture the internal conflict of someone trying to reconcile her ethical beliefs with the enormity of her actions. Reality’s decision to leak the document comes across as impulsive but with deep-seated frustration at the political system. Jones conveys the complexity of her character’s motivations with a sense of restraint that feels authentic, as opposed to overplayed melodrama.

The film thrives on the idea that Reality Winner is not an archetypal hero but rather someone whose life is messy, nuanced, and full of contradictions. Jones’ portrayal embodies this messiness. She plays Winner as a woman deeply concerned with issues of truth and transparency, yet bogged down by the mundanity of her suburban existence. Whether she’s bonding with her mother or engaged in tense exchanges with FBI agents, Jones maintains an edge that keeps Reality’s internal struggle at the forefront of the narrative.

The supporting cast provides a rich backdrop for Reality’s story. Connie Britton as Billie Winner offers a poignant portrayal of a mother grappling with her daughter’s choices. Britton’s performance is a mixture of bewilderment, love, and quiet frustration, as she tries to understand the implications of Reality’s actions while remaining supportive. Britton and Jones share moments of domestic intimacy that heighten the film’s emotional core, illustrating that even in the midst of a high-stakes political drama, familial bonds are at play.

Kathryn Newton, as Reality’s sister Brittany, offers a lighter counterbalance. Her character represents the more carefree side of the Winner family dynamic, oblivious to the darker, more complex struggles Reality faces. Newton’s performance, though somewhat limited in screen time, injects moments of humor into the film, highlighting the absurdity of the situation.

Zach Galifianakis as Ron Winner brings a surprising gravitas to his role. While Galifianakis is known for his comedic performances, here he manages to blend his usual humor with a sense of quiet resignation. His portrayal of Ron is not over-the-top but grounded, embodying a father caught between his daughter’s idealism and the harsh realities of government surveillance and legal consequences. Galifianakis’ performance helps to underline the film’s black comedic tone, walking the line between tragic absurdity and moral seriousness.

Fogel’s direction makes Winner distinct from typical biopics. The tone fluctuates between dark comedy and serious drama, reflecting the bizarre circumstances of Reality’s arrest and interrogation. The comedic elements are not so much laugh-out-loud moments as they are sharp, biting critiques of how absurdly normal situations can spiral out of control when the full force of the U.S. government comes crashing down on an individual. Scenes involving the FBI agents interrogating Reality play like Kafkaesque nightmares, where mundane questions about her pets and fitness routines feel absurdly out of place in the context of a major intelligence leak.

At the same time, Winner never lets the comedy overpower the gravity of the story. Fogel knows when to pull back and let the audience sit with the uncomfortable moral questions the film raises. The direction plays with the idea of transparency, both in the literal sense (Reality leaks classified documents) and the figurative sense (the film exposes her vulnerabilities and motivations). The pacing, however, can be uneven at times. While the first half establishes Reality’s ordinary life with a methodical, almost slow, pace, the second half accelerates quickly, sometimes sacrificing depth for forward momentum.

One of the film’s strengths is its willingness to embrace complexity. It doesn’t paint Reality Winner as a martyr or a villain, but as a person caught in an impossible situation. The film touches on the broader issues of governmental overreach, transparency, and the moral responsibility of individuals within powerful institutions. Yet, it refrains from offering easy answers. Instead, it allows the audience to wrestle with whether Reality’s actions were justified and at what cost whistleblowing comes.

The film’s black comedic elements also serve as a critique of the U.S. government’s handling of national security, highlighting the absurdity of the bureaucratic machine that is set in motion once Winner’s leak is discovered. The juxtaposition of Reality’s mundane, quiet life with the government’s over-the-top response underscores the absurdity of modern surveillance culture.

Winner is a complex, layered film that challenges its audience to consider difficult questions about ethics, transparency, and individual responsibility. Emilia Jones shines in her portrayal of Reality Winner, bringing nuance and depth to a figure who has been both vilified and celebrated in the media. Though the film occasionally stumbles with pacing and tonal shifts, Susanna Fogel’s direction keeps it engaging, and its blend of dark comedy and drama makes for a unique biographical retelling.