The Regime review – Kate Winslet is wasted in this mess of a satire
The Regime provides insight into the question of how actors end up working on bad projects like poorly made films or TV series. Andrea Riseborough's character, Agnes, is the housekeeper of a palace where her leader and employer, Elena, lives. She must have believed that Agnes had a compelling storyline, which potentially could have been true. Agnes is the mother of a boy with epilepsy whom Elena likes to co-parent. Elena gives him treats while insisting that he switches to natural remedies instead of his medication. This could have been a commentary on how tyrants, whether in domestic or professional settings, can exert control, coerce, and harm people without physically hurting them.
Henry Goodman and David Bamber, who are both Olivier award-winning actors, were likely drawn to their roles in a satire about the corrupt nature of modern politicians. In the production, they play members of Elena's nominal cabinet who work against her and only speak out to protect their own interests. Matthias Schoenaerts, who plays the role of the violent corporal, Herbert Zubak, probably found the idea of a common soldier promoted to an oracle by Elena appealing. He was likely enthused by the thought of having a direct connection to the ordinary citizens and to the desires they wished to see fulfilled. However, Elena is only willing to fulfill their wishes if it doesn't affect any of the national assets she has hoarded over the years.
The creators of the show have impressive backgrounds. Will Tracy, who worked on Succession, wrote the show. It was directed by Stephen Frears for half the episodes and Jessica Hobbs, who has experience from shows like The Split, Apple Tree Yard, and Broadchurch, directed the rest. The executive producer is Frank Rich, who has worked on Succession and Veep. And then there's Kate Winslet, who plays Elena. Her character is Chancellor Elena Vernham, who is a neurotic and spoiled dictator. Her father's body is kept in a mausoleum in the palace, and his birthday is still celebrated despite the decay on his face. Elena is a monster behind her facade of wanting to be adored. She's great at self-preservation, too. Despite being a superb comedic performance, her character isn't funny at all.
The ingredients for a phenomenal creation are present, complete with the talented Pippa Haywood, Martha Plimpton, Hugh Grant, and Julia Davis in supporting roles. However, they fail to combine into something greater than their individual parts. There are moments where success seems attainable and you're tempted to lean in closer to the screen, hoping to will it into existence. These superb performances revolve around Winslet's captivating portrayal, all the necessary components ready to unify and drive us towards something exceptional. But alas, it falls short of greatness.
The author suggests that the Regime is aware of its satirical nature but seems confused about what it is mocking. The protagonist's country has previously worked with the US, with some describing it as exploitation. However, the main character disrupts this relationship by seeking collaboration with China while attempting to unite her nation with the Faban Corridor, indicating similarities with Ukraine. Furthermore, she shares traits with Putin, such as being a germaphobe and having a Trump-like persona, delivering speeches from cabbage fields and including karaoke-like segments in her Christmas messages instead of public rallies and nonsensical tweets. However, she is mainly portrayed as an authoritarian figure, teaching us that tyranny is not a desirable form of governance, which most people already know by 2024.
The idea of pitting the people who always agree with her and her spouse against the chancellor might be worth exploring. However, it's not possible to make a thoughtful analysis of the sexism that exists in politics when the woman in question is clearly troubled. On occasion, Winslet's posh accent has a hint of a little girl's faltering speech, but she also adopts a tone that is reminiscent of Thatcher, which may be unsettling for those who remember the former prime minister.
The blog section contains a few witty remarks (like the comparison to the TV show Succession where profits are called "fucked like a spring donkey") as well as some less subtle moments that are still amusing, such as when Zubak is winning and her coworkers are fed soil from various parts of the country as a meal.
In general, the humor and the serious moments in the show are not effective. The unfocused attempt at covering various themes leaves the audience confused and searching for significance. This missed chance seems like a shame, considering the talented cast and crew involved.
