Sonia Kennebeck’s documentary unpacks the circumstances surrounding its subject, but fails to crack her complexity.
It is not always fruitful to compare a documentary about an event with a narrative film portraying that event. Yet “Reality Winner,” Sonia Kennebeck’s hazy nonfiction chronicle of Reality Winner — a National Security Agency contractor who was sentenced under the Espionage Act in 2018 when she was 26 — and this year’s film “Reality,” a searing dramatization of her interrogation, form a tidy double feature. The latter eschews context to paint an evocative real-time picture of a young woman in the F.B.I.’s cross hairs; the former painstakingly maps out the state of affairs surrounding Winner, only to see her personhood trickle away, like water cupped in one’s palms.
Rotating among a handful of timelines, Kennebeck’s documentary spends the most time with Winner’s parents and sister as they push for Winner to receive a fair trial. These scenes are interspersed with blurred re-enactments (not unlike those starring Sydney Sweeney in “Reality”) and actual field-recording audio, as well as an interview with Winner, who orates directly into the camera à la Errol Morris’s Interrotron technique.
One of the more troubling aspects of this complex case was The Intercept’s mishandling of the leaked document, and “Reality Winner” unpacks how The Intercept’s actions contributed to exposing Winner’s identity to the N.S.A. Indeed, the documentary’s most valuable testimonies come from other whistle-blowers (including Edward Snowden) who come across as extraordinarily well equipped to analyze the story’s knottier details.
Despite this access, “Reality Winner” fails to decode its ideologically heterodox subject. The film is clear in showing how the media put her into boxes: a traitor, a terrorist, a progressive, an innocent, a lost cause. But who is Reality Winner? This documentary doesn’t dig deeper than her patently well-meaning exterior.
Reality Winner
Not rated. Running time: 1 hour 33 minutes. In theaters.
Source: Movies - nytimes.com