This theory is more convincing. It is humble and confident in its logistics. I bought it because they weren’t selling it.
The writer and director Scott Z. Burns has returned after a while in the director’s chair with an effective procedure and one and only one thing in his mind. Politics. While the film mostly works tediously on the journalism, the crux of the plot is puppeteered by the politics. It is framed as a part of democracy, war, partition and correction. These corrections are actually massively hungry in its nature. It pushes every party into believing that they are right. They might be pushing few boundaries and bending a few rules as a part of an excuse that they call it as their contribution in fighting against the evil. And though everyone is aiming for peace. This very difference, in every step, makes our unsung hero stand tall. And it is an unsettling feeling that we have. We gravitate towards him like some typical western genre hero would pull us. Adam Driver is on a surreal run. He is stretching his bones and begging for us to read The Report that he has written. There is unfathomable hard work and unfiltered devotion to be right. And then comes the force outside this circle that tries to pop out this bubble with all the schemes it can think of. Which then creates what could be described as this king and slave dynamics. This equivalency of owning others’ birth rights does not only gets on theirs but our nerves too. The performance nourishes those sentiments with beautiful language in which Burns paints their emotions. The only regret of mine are the dark cringing images that the film projects. It can be too much to handle. To be fair, I shouldn’t have been eating that bucket of ice cream while watching it.