Reality, written and directed by Tina Satter, is an American mystery-thriller that had its debut at the 73rd Berlin International Film Festival, where it received nominations for Best Film and Best Director. The movie’s core idea centers on what might be called a “glitch in the system.” The director uses visual effects—specifically, these "glitches"—to question the idea of an error-free setup or to cast doubt on the film's story itself. Satter intentionally leaves out important details from documents and conversations, which encourages viewers to actively participate in understanding what’s happening and searching for answers. These distortions, sometimes described as “crashes,” aren’t random; they are carefully placed interruptions that add layers of complexity to the storytelling. The presence of these visual disruptions brings to mind digital errors and viruses—things capable of breaking into systems, getting access to secret information, and using it for their own purposes. Within the film's structure, these disturbances create a break between what the filmmaker presents as a story and the actual events. The movie shows how a small issue within the U.S. security system – Reality Winner – has caused significant problems, leading to unexpected outcomes in what seemed like a “perfect, flawless, uninterrupted, and well-orchestrated” environment. This seemingly minor problem was so damaging to the government that it created the impression that the entire system wasn’t working properly. At the same time, the filmmaker subtly suggests that getting information or truth out there requires these disruptions—people like Reality Winner. Basically, without them, clear facts can't exist. To outsiders, the system might look like a “mystery,” but interference from these disturbances clarifies things. In this situation, The Intercept news agency acts as a channel for these disruptions – functioning as a source of noise within the United States. However, unlike Reality Winner, this news outlet has the power to change how information is presented, stripping familiar words and ideas of their usual meanings and creating new ways of understanding them. When, at times in the film, Reality Winner—or sometimes the police officers—briefly vanish through a visual glitch, viewers are left with a sense of emptiness and confusion. These moments suggest that characters or the story itself might have lost control, challenging our assumptions about how stories work. Through these altered visuals and manipulated narratives, the audience is drawn into exploring “truth” and “interpretation.” Ultimately, I see Reality as a film about these disturbances—things that both reveal flaws in the system and, surprisingly, help to connect those gaps.

Source on TMDB