Director Timur Bekmambetov (producer of Searching) has perfected the on-a-computer screen only cinematic genre. He pushes that envelope further with the burning and harrowing thriller about a British journalist and the Middle East-centered terrorist who she is trying to ensnare for the story that will make her career. Only thing, through the smart script by the helmer, Britt Poulton, and Olga Kharina, based on the book by Anna Erelle (In the Skin of a Jihadist), one is never sure who is playing who.
Valene Kane is Amy and with seems like a few strokes of her computer, she is in touch with a man who claims to be interested in her. See, she has set up a profile that says she’s an Englishwoman who has recently converted to Islam. Hundreds of girls have done the same thing and wound up in the Middle East. Amy sees it as a huge story that’s not being reported. She’s going to change that. But something happens over the course of several weeks. Amy becomes attached and Abu Bilel Al-Britani (Shazad Latif) knows it and he plays her like a fiddle. Thing is, she’s playing him too.
Amy’s boyfriend Matt (Morgan Watkins) is supportive but is eager to close the deal on a new apartment that will serve as their first together. His interruptions of her Skype call with Bilel are not helping her research, but she tolerates it… for now. Also chiming in often is her editor Vick (Christine Adams), who is clamoring for the story, yet it never seems to have a good concluding point. Both Amy and Vick know this, but people above Vick are pushing. That will complicate things for all our players as what is supposed to seem organic cannot have the slightest feeling of not seeming authentic or rushed.
As Amy gets closer to Bilel, the danger, and tension increase. Bekmambetov has a way of weaving his web in a manner that will have you holding your hand over your mouth on repeated occasions. There are numerous chances that Amy’s cover could be blown. Bilel wants her to come to Syria and marry him, and he is pushing charmingly hard.
All in the center of this and charged with, in many ways, carrying Profile is Kane. She is uncanny. The actress nails all sides of this complicated tale told in what seems to be the simplest of formats—a computer screen. Kane delivers a breakout performance, which is especially impressive given the unique situation she was in as filming the movie progressed. Her only cameras were the ones on her phone or computer. Sure, her director was right there, but in the end, it was all on her to capture the various moments impeccably. She had to act one way with friends, her boyfriend, and of course, the terrorist with a penchant for bragging about his violent escapades.
The connection between Bilel and Amy is profound. These two are really falling in love, or both are amazing actors. The conclusion will reveal much, sure, but while these two interact over time… it feels as real as any romance captured onscreen in the past. There are real emotions in play here and that only does one thing—up the ante. The truth of the matter is that if Bilel discovers that the converted woman he is talking with on Skype is not who she says she is, much worse a journalist, her life would absolutely be in danger.
Bilel is charismatic as hell and what he is spouting, he truly believes it to his core—that much is apparent. The British-born man of Pakistani descent has an enormous chip on his shoulder and waxes poetic about killing, but at the same time, it is with a charm that is mesmerizing to witness. The actor outdoes himself, especially considering the format.
When it comes to her editor, she wants something concrete from Bilel’s tape (Amy records all their interactions) where he details how he gets girls from Europe to travel to Syria… and then disappear for intents and purposes. Each is playing the other, and yet, there seems to be palpable emotion involved. There are lies that Amy has told Bilel that she must keep track of, and the entire thing starts to feel like a house of cards where the slightest breeze will undo the entire endeavor. We all know, that if that happens, Amy’s life will never be the same. There will be a bounty on her head.
This gets about as serious as a cinema real-life experience can be and that is captured brilliantly by Bekmambetov in a manner that will raise the pulse rates of all who take this journey with him. The director’s work here is remarkable and something to emulate. He had such a creatively powerful journey making this movie he is reportedly already working on another like-minded flick. What he achieves is simply stunning. Building believable suspense is no easy task, much less with one hand tied behind your back as a filmmaker. After all, everything we see, everything he shows us has to be up on that computer or iPhone screen. Profile is such an achievement in filmmaking that I wouldn’t be surprised if the Hollywood copycats commenced immediately.
Searching with John Cho was a hit and considered an envelope pusher. Profile busts the envelope wide open and tears it to shreds. What’s fascinating is that one might feel that the way of telling this story through a computer screen might limit the storytelling possibilities or worse, make the film feel narratively claustrophobic. That never happens. We are in this world and we are vested. As it steamrolls towards its end, the intensity ever increases—not an easy achievement for any filmmaker. Maintaining power and resonance over the course of an entire film is one enormous challenge. Bekmambetov achieves it as if he has been making movies like this his entire career.
In this ever-present computer and phone screen world, Profile is relatable, all-involving, and most importantly, a terrorist story that will haunt long after Amy’s story is told.
Grade: A