Adapting here a true story dating back to 2014 with an English journalist trying to connect with an Islamic State recruiter, the film attempts to show recruiting mechanisms, mostly based on seduction or charm. But the "Profile" scenario goes in unexpected ways, succeeding in quickly setting up tension and maintaining it from start to finish thanks to external intrusion into this investigation through the inserted screen.
Brian de Palma has already experimented a lot with the types of images available today in the exciting Edited (2008). With his staging mode, which includes here, on one screen, all technologies on one screen (the heroine's screen becomes the viewer's screen), Timur Bekmambetov pushes the reflection further. It highlights the many requests that come to us when we are connected (mail, instant messages, Internet, Skype, etc.), as well as the many potential intrusions. It also shows the incredible amount of information available on the web, as well as the many sources of potential danger to our privacy (and, paradoxically, lies).
Ultimately, Profile can be compared to a camera and owes a lot to its main actress Valen Kane, who can finally only be seen on a small portion of the screen when she talks to a recruiter or her friends. This quickly manages to make one forget the unrealistic age of the character he is composing and embody multiple pressures. And in the end, the film is gripping, surprises with the unchanging rhythm and intelligence of its plot.