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A British journalist opens a fake social media account to understand how ISIS recruits young women and is soon talking to a fighter in Syria. The entire film takes place on her computer screen: video calls, chat windows, tabs opening, messages deleted before sending. Timur Bekmambetov pushes the format past a gimmick. The screen becomes the place where she moves between her two identities, and that is exactly where the danger sits, because the moment the performance starts running her rather than the other way round goes unmarked. The source is a real book, Anna Erelle's account of her own experience. The film won the Panorama audience award at the Berlin film festival in 2018. Its limit is the format. Staying inside one screen holds the tension but shrinks the world around her, some developments arrive too easily, and the ending is rushed in a way that has been argued over since. Who it is for: viewers who like screenlife storytelling and thrillers built on real events. Who it is not for: anyone who will find the treatment of the subject shallow.