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Director and co-writer Timur Bekmambetov uses what’s being called the “screenlife format”: We see only what is shown on Amy’s computer screen, as in “Searching” or “Unfriended,” which he also produced.
The choice even reveals character, as the speed with which Amy rejects calls betrays stress and the way she grabs needed information or learns processes on the fly displays intelligence.
Apart from playing their sides of the game, they must convince us that a sophisticated, intelligent English journalist could be swayed and perhaps seduced by a homicidal terrorist.
We believe it when she starts to feel something for Bilel and cringe when she starts to slip up.