{"id":552,"date":"2026-06-17T11:05:49","date_gmt":"2026-06-17T11:05:49","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=552"},"modified":"2026-06-17T11:05:49","modified_gmt":"2026-06-17T11:05:49","slug":"in-disclosure-day-steven-spielberg-steps-out-from-behind-the-curtain","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=552","title":{"rendered":"In \u201cDisclosure Day,\u201d Steven Spielberg Steps Out from Behind the Curtain"},"content":{"rendered":"
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In the run-up to the release of Steven Spielberg\u2019s \u201cDisclosure Day,\u201d I felt a whiff of desperation in the air. The director, who is seventy-nine, had had two commercial flops in a row, \u201cWest Side Story\u201d and \u201cThe Fabelmans.\u201d He must have been beginning to wonder whether, if the new film proved to be another failure, he would still be able to command the ample budgets that his spectacular adventures require. After seeing the trailer for \u201cDisclosure Day,\u201d which advertised an alien-arrival story, I figured that Spielberg would be returning to familiar turf and serving up a crowd-pleasing intergalactic meatball. Instead, he bet big on a fundamental value that\u2019s all the more crucial for being too rare in blockbusters: directorial delight. With \u201cDisclosure Day,\u201d he has delivered something akin to Martin Scorsese\u2019s \u201cThe Irishman\u201d: just as Scorsese\u2019s mighty latter-year Mob drama is no mere retread of his earlier gangland forays but a comprehensive revision of them, so does Spielberg\u2019s project boldly reconfigures outer-space tropes, and not just his own. The movie thrums with his excitement in bringing his own new perspective to the screen, and with the audiovisual verve that doing so inspired in him.<\/p>\n

Read more Has Tech Robbed Us of Our Sensory Lives?<\/a><\/p>\n

There\u2019s an intrinsic pleasure in seeing filmmakers grow both older and weirder, yielding to their personal idiosyncrasies and obsessions, taking wild chances in pursuit of their passions. Spielberg\u2019s vision in \u201cDisclosure Day\u201d suggests audacity, even recklessness, two qualities that have often been wanting in his movies. There\u2019s a sense of freedom, of a work pulled from deep within, that in some ways seems even more personal than the memoir-like \u201cThe Fabelmans.\u201d This is one of the few films that Spielberg seems to have made without quite knowing what it would look like or how it would turn out. It contains a tangle of conflicting subplots and strange situations, somehow squeezed into a story that\u2019s just coherent enough. There are some defects\u2014including instances of garish taste, vain virtuosity, and a modicum of commercial calculation\u2014but they don\u2019t dispel the over-all sense of urgency and wonder.<\/p>\n

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Josh O\u2019Connor plays Daniel Kellner, a cybersecurity specialist with a stash of top-secret data on a collection of drives in a backpack. He\u2019s about to pass off the goods to a clandestine contact\u2014at a crowded pro-wrestling match\u2014when, instead, he\u2019s waylaid by paramilitary personnel and ordered to follow them if he wants to see his girlfriend, Jane Blankenship (Eve Hewson), alive again. The operatives take the drives and release Jane, who is bruised and bloodied. Then, rushing to Daniel\u2019s side, she slips him a black, coffin-shaped stick that bestows fearsome powers on whoever grasps it. Daniel uses it to threaten the operatives, recover the backpack, and stage-manage their escape. The information, which Daniel was hired to protect but now wants to disclose, is footage providing conclusive evidence of the arrival of aliens on Earth, in 1947, and of a seventy-nine-year coverup, with government complicity, by a company called WARDEX<\/em>, headed by Noah Scanlon (Colin Firth). Daniel is part of a well-organized group of former WARDEX<\/em> employees, led by Hugo Wakefield (Colman Domingo), who\u2019ve decided that, as Daniel says, \u201cpeople have a right to know the truth.\u201d Hugo dissuades him\u2014for unstated reasons that eventually prove pivotal\u2014from putting the material online. Instead, Daniel must evade capture by WARDEX<\/em> and reach Hugo to deliver the batch of drives, and the information on them must then make it out to the world.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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This thriller-like story soon opens a new dimension with the introduction of Margaret Fairchild (Emily Blunt), a TV meteorologist in Kansas City, Missouri. One morning, a cardinal flies through the window of the apartment she shares with her boyfriend, Jackson (Wyatt Russell), and suddenly Margaret starts speaking Russian without realizing it. Just as suddenly, she has gained another strange power: stopped by a police officer for speeding, she looks him in the eye and reads his mind, stupefying him with talk of intimate secrets involving his wife. (Needless to say, she doesn\u2019t get a ticket.) While on the air that morning, she interrupts her weather report with a seemingly incoherent skein of clicks and clucks; then she collapses. She\u2019s taken to a hospital, where, outside the exam room, officials claiming to be from the F.B.I. are waiting for her. She looks one in the eye and realizes that they\u2019re not from the government\u2014she, too, is being hunted by WARDEX<\/em>\u2014and she drags Jackson out on a backdoor escape. In a car, as they make their getaway, she gets a call from Hugo ordering her to join up with Daniel. There\u2019s something connecting Margaret and Daniel that, in Hugo\u2019s mind, is as important as the disclosure of the alien files. Their connection turns out to be a mystery deeply woven into the fabric of the story, and its eventual revelation is so dramatic that it renders the alien disclosure itself nearly anticlimactic.<\/p>\n

\u201cDisclosure Day\u201d is unusual in this regard: it\u2019s an extremely back-loaded film, in which the preordained happy ending\u2014the success of the heroes, and the triumph over evil\u2014takes surprising forms that surpass and expand the premise. Still, there\u2019s plenty of extraordinary plotting early on, too, that foregrounds the strangeness of the heroes\u2019 journeys. For instance, when Daniel and Jane go on the run, she chooses their initial hideout, a convent where, she reveals, she was once a novitiate. She has renounced her vows but not her faith, and at their next hideout, when Daniel explains his plan to disclose the files, she\u2019s appalled: she thinks that many people, learning of extraterrestrials, \u201cwill stop believing in God\u201d and start worshipping the aliens instead. Her faith soon becomes a principled bulwark, as, in an extraordinary twist (spoilers ahead), Noah uses one of the aliens\u2019 sticklike devices as a jerry-rigged mind-control system, to attempt to turn Jane against Daniel. Noah conjures, in Jane\u2019s mind, his own physical presence across a table from her, and he forces her to answer questions about Daniel. The scene plays like a meditation on torture and freedom, and on faith as a form of resistance in the face of seemingly absolute power.<\/p>\n

Where Jane embodies the power of religious belief, Margaret is the incarnation of empathy: her mind-reading powers make her instantly aware of others\u2019 emotional needs and desires. Not unlike Noah with his stick, she can also control the thoughts of others, using her presence to conjure their mental images of people of importance to them, alive or dead. Margaret deploys this power to find Daniel and to free him from Noah and the WARDEX<\/em> minions\u2014essentially, by stunning them emotionally. I watched in open-mouthed awe the scenes of these ruses. There is no technological wizardry involved, only a simple but mighty effect of film editing that could have been pulled off in the early silent era: the power of montage, a basic and defining element of movies. Coming from Spielberg, these scenes come across as a strange and mysterious form of self-interrogation. Margaret may be a supernaturally powerful empath, but she also suggests the looming possibilities of weaponized empathy: demagogy at a one-on-one level.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Margaret is entirely aware of what she\u2019s doing when she pulls off these empathetic maneuvers, but she remains oblivious to how she herself is being puppeteered\u2014when she speaks Russian or Korean, when she clucks. There\u2019s a link between these conscious and unconscious forms of mind control, and for Spielberg Margaret\u2019s eventual coming to consciousness is a matter of fundamental morality. It\u2019s also a self-regarding, self-challenging portrayal of his own art of moviemaking.<\/p>\n

The workspace from which Hugo runs the liberation group bears a peculiar resemblance to a movie studio. The space is big, bare, and hangar-like, filled not with secret agents glued to monitors but with craftspeople putting up frames and walls for what looks like a set where a fictional scene would be filmed; Hugo indeed calls it a \u201cstaging area.\u201d Throughout \u201cDisclosure Day,\u201d every glimpse of the workspace reveals that set in a more advanced state of construction, until its point is finally revealed: Margaret is brought, for a sort of regression, to visit a perfectly detailed replica of her childhood home\u2014where, at the age of ten, she was, not to put too fine a point on it, captured by aliens. She has no memories from before that event, and she\u2019s filled in the blank with guilt and regret. Her psychodramatic home tour is meant to restore her childhood to her\u2014in other words, to restore her to herself.<\/p>\n

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This conceit highlights the essential difference between Margaret\u2019s powers and Daniel\u2019s. Where she deals in feelings, he is a numbers guy\u2014the noises that Margaret makes on TV are as clear as English to him, because he recognizes the sounds as eight-bit code. He is the master of the plot, the bearer of the backpack, the metteur en sc\u00e8ne of the film\u2019s titular disclosure day. Yet he\u2019s unable to put his script into action without the aid of Margaret, the player of multiple roles, the master of guises\u2014in movie terms, the actress, who is drastically transformed into characters radically different from herself and who, in turn, touches her spectators in the most vulnerable recesses of their souls. In Spielberg\u2019s vision, Margaret is the performer who is required to give of herself, indeed too much of herself, for the needs of the overarching plot and the common good. It\u2019s her<\/em> vulnerability that, ethically, matters most.<\/p>\n

The scene of Margaret\u2019s self-confrontation is an extraordinary combination of exaltation and kitsch. Spielberg himself is palpably in the grip of its overwhelming emotional power, its combination of metaphysics and theatre. But he builds Margaret\u2019s operatic transfiguration on a core of suburban sentimentality, and at times the schmaltz wins out. It reminded me of something I\u2019ve long felt about Spielberg\u2019s work, which is that his storytelling tends toward the cultural average, with representative types whose individuation is subordinated to the backstory-light and digression-free speed of his action. Sentimentality is approximation; Margaret\u2019s regression slips \u201cDisclosure Day\u201d back into Spielberg\u2019s comfort zone of a generic, all-too-familiar pop-culture past.<\/p>\n

There\u2019s nonetheless a critical tweak built into the scene involving the uses<\/em> of childhood sentimentality, and here, again, Spielberg suggests a self-awareness of the dangers of his practice, and the essential importance of having a virtuous idea system at the heart of such a drama. Margaret has effectively been the victim of a childhood trauma, albeit one that was ostensibly inflicted morally, for the planned benefit of all humanity. In Spielberg\u2019s democratic vision, the benefit of humanity at large is impossible without the redemption of its victim zero. (The notion brings to mind a colossal precursor: the cosmic redemption of a woman named Margaret, in Goethe\u2019s \u201cFaust.\u201d)<\/p>\n

As astonishing as much of the movie is, it\u2019s padded with sequences that seem contrived to sell its extravagant conceits. There\u2019s even one high-stress scene, involving a train and a car (as in the primal scene from \u201cThe Fabelmans\u201d), that plays the same role as the hilly chase in Paul Thomas Anderson\u2019s \u201cOne Battle After Another\u201d: to make a movie of emphatic ideological orientation play like an action film. A far more satisfying action scene takes place when Margaret, after the regression, finds a new form of principled power, laying a hand on one of the mighty sticklike devices and leading Hugo\u2019s group in battle\u2014now, with consciousness restored, doing so fully as herself. The resulting action makes delicious use of special effects to conjure a classic cinematic trope\u2014invisibility\u2014in a spectacular new form.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Margaret\u2019s leadership also makes possible the movie\u2019s titular d\u00e9nouement, the revelation of the footage that will offer the world proof of the presence of alien life. Spielberg has said that he has become certain of the existence of aliens, and that conviction marks the fundamental difference in tone between this new film and \u201cClose Encounters of the Third Kind,\u201d which never seems like anything but a vigorously developed fantasy. \u201cDisclosure Day\u201d has the overheated and hectic fervor of an ideological movie, like King Vidor\u2019s 1949 adaptation of Ayn Rand\u2019s \u201cThe Fountainhead\u201d\u2014which is why, in the realm of filmmakers\u2019 later-career movies, it also resembles Francis Ford Coppola\u2019s long-gestating, self-financed superproduction \u201cMegalopolis,\u201d from 2024. Ideology drives the story doubly as Jane overcomes her opposition to the disclosure after a cleverly scripted consultation with the convent\u2019s Mother Superior (Elizabeth Marvel), who justifies alien presence via Biblical interpretation. (I was reminded of the venerable quip that classic-era Hollywood amounted to Jewish producers selling Catholic doctrine to Protestant audiences\u2014and of the joke\u2019s earnest artistic implications.)<\/p>\n

For Spielberg, the long-delayed public revelation of alien life on Earth involves another personal ideal, his own version of cinematic utopia: the entire world watching the same thing at the same time. With the footage-within-a-film at the end of \u201cDisclosure Day,\u201d essentially a faux documentary of aliens, he dramatizes the world-commanding control of eyeballs. The vaunted ability of mass media to unify the globe here comes off as a benevolent form of tyranny, of a consensual unanimity in which the bearer of truth gains total attention, total acceptance, and total gratitude. Here, the director\u2019s mask of benevolence, however sincere, feels thinner and more transparent than ever. \u201cDisclosure Day\u201d is ultimately a wild and wondrous fantasy of the will to power. The last word in the movie is, tellingly, the one with which parents admonish and command children: \u201cListen.\u201d\u00a0\u2666<\/p>\n

Read more David Hockney\u2019s Hidden Depths<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Richard Brody writes about \u201cDisclosure Day,\u201d Steven Spielberg\u2019s tale of aliens on Earth and the coverup of their presence, starring Emily Blunt and Josh O\u2019Connor.<\/p>\n","protected":false},"author":1,"featured_media":551,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-front-row"],"yoast_head":"\nIn \u201cDisclosure Day,\u201d Steven Spielberg Steps Out from Behind the Curtain - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=552\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In \u201cDisclosure Day,\u201d Steven Spielberg Steps Out from Behind the Curtain - 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