



Turns out power is mostly television. Olivier Assayas’ adaptation of Giuliano da Empoli’s novel follows Vadim Baranov — Paul Dano, doing his quiet-unravelling thing, and doing it well — a TV producer who slides into becoming Putin’s image architect, only to find the image has consequences.
The film is at its best when it shows propaganda being built: the stagecraft, the myth-making, the careful control of what the camera sees. Where it struggles is in assuming proximity to history counts as insight into it. Lots of men in rooms making enormous decisions; some of it grips, some of it is just very expensive furniture.
Jude Law’s Putin has the stillness and blank menace, but the film is too busy admiring the monster to question him — treating him as a dark icon rather than something history, money and media helped create. Pay no attention to the man behind the curtain. I admired the ideas more than I enjoyed the film: slick, intelligent, well-acted, and just bloodless enough. Everyone thinks they’re writing the script until they realise they’re only a character in someone else’s.