«The Official» - Series Review by Kinoafisha

"The Official" makes a bold statement as an "anti-corruption melodrama," immediately piquing intrigue. Russia still hasn't matured enough to produce sharp political films - everyone seems to be focused on the infamous "little man," and for understandable reasons. It's acceptable to laugh and satirize the system, but to completely dismantle it like in "House of Cards" is a daring move that no one has attempted yet. Falling for the colorful description of "The Official" would have been simple, particularly because it airs on KION, which is known for its courage compared to other streaming platforms. Only after discovering that it will also be shown on Channel One will we truly know how much "anti-corruption" content can be broadcasted on the main federal channel, where news has long transformed into mere journalism.

The main character of the series is Arina Alferova (Victoria Tolstoganova), a government official working at the regional Ministry of Health. She is involved in a relationship with her married colleague Pavel (Maxim Vitorgan), who has been exploiting her position as a mistress for quite some time, while she unknowingly aids pharmaceutical magnate Yuri Tsalov (Alexey Agronovich) in the production of counterfeit drugs. Arina's colleague and friend Yana (Laura Pitskhelauri) conducts a small investigation, trying to convince her that her lover is using her and her unintentional complicity is costing human lives. Arina steadfastly resists the truth but is eventually forced to accept it, while she is also under surveillance due to suspicions of corruption.

This could have been a thought-provoking drama about the healthcare system that would undoubtedly find its audience and also remain relevant. However, the first three episodes of "The Official" are purely melodrama, featuring caricature-like characters. Despite being an adult woman, Arina's actions cause nothing but bewilderment in at least 90% of the situations. Vitorgan's character is a dim-witted individual with an inflated ego, led by everyone around him. And perhaps, only Agronovich's character sparks interest. Behind his contemporary casual attire and calm demeanor, something quite unsightly is clearly concealed.

One could say that, like, this is a story about a woman, not a bureaucrat. However, watching Arina Alferova becomes incredibly boring at some point: she goes around in circles with her sorry excuse for a lover, has no clue what's happening at work, and behaves quite timidly, which raises the question of how she even made it to her position in the Ministry. It seems that she's just a step away from giving up and surrendering. Yes, hitting rock bottom is a necessary step for the development of a fictional character, but in the case of "The Bureaucrat," it is missing for way too long.

There's nothing terrible about a melodrama, really: after all, it is a legitimate genre. Among its representatives, there are good and bad examples, and "The Bureaucrat" falls somewhere in the middle. The main problem with the series is its astonishing predictability, almost parasitic reliance on clichés. In 2021, it is simply unbearable to watch a heroine who throws herself at men (and others) to be noticed, and the first three episodes give no hope that Arina will finally find her inner strength and be able to handle things on her own. It's not about feminism, but rather the fact that the damsel in distress archetype is monstrously outdated. This occasionally gives the feeling that you're watching a product made in the 2010s or even earlier, dedicated to "simple female happiness," whatever that may mean.

To be fair, it should be noted that there are occasional hints, between the lines, of not just commentary on contemporary politics, but at least mentioning its twisted nature. For example, when the local minister simply manipulates healthcare institutions to make money, rather than improving their work for the benefit of citizens. Or when Arina, obsessed with meeting the quota for domestic drug substitution, almost advocates forcing patients to use domestic medications. Unfortunately, this is not done often and holds little significance. One can only hope that this character will step forward in the future.

"The Bureaucrat" takes on a lot but ultimately disappoints rather than impresses. It is primarily a series for fans of rather heart-wrenching melodramas. One wants to believe that in the remaining episodes, the project will somehow justify the use of the word "anti-corruption" in its descriptions, but unfortunately, hope is small. In Russia, for so long they were afraid to shoot films even about such a natural part of life as sex, let alone speak about the more subtle matters of politics.