TORONTO INTERNATIONAL FILM FESTIVAL 2023 REVIEW! Death of Whistleblower began thirty-seven years ago on a remote military base. A young woman, Emma (Inez Robertson), argues with her boyfriend, storming out of their apartment and fleeing the base. After a quick chase, Emma is captured by soldiers, but not before her eyes begin to bleed. Cut to the present day, Albert Loots (Irshaad Ally), a corporal in the South African military, discovers evidence of Emma’s disappearance and its connection to a massive cover-up. Risking his own life, Albert leaks the information on Emma to a journalist, Stanely Holloway (Robert van Vurren), hoping to expose the corruption embedded at the core of his government. 
Co-writer and Director Ian Gabriel navigates themes of corruption, justice, and the power of journalism through Luyanda (Noxolo Dlamini). Luyanda, a political journalist, is distraught as her editor scraps her most recent exposé. Finding solace in a local bar, Luyanda runs into Stanley, who is fresh from discovering the disappearance of Emma and its ties to a larger national conspiracy. But just as Stanely gets closer to the truth, he is assassinated before Luyanda’s eyes. Luyanda is now thrust into a dangerous and duplicitous world of espionage as she seeks the deadly truth behind Stanley’s murder and a missing girl. 

“Albert leaks the information on Emma to a journalist…hoping to expose the corruption embedded at the core of his government.”
After Stanley’s assassination, Death of a Whistleblower shifts from exposition-heavy drama to full political thriller. Moments of the film feel like the sub-plot of a Jason Bourne film but expanded into a feature format. That is to diminish the film, Gabriel paces the plot reveals, cleaver solutions, and Luyanda’s most prominent character moments with the precision of a Bourne film. Death of a Whistleblower may not be a total spy film, but Gabriel borrows more than a few things from Robert Ludlum and Tom Clancy, and the film is better for it. All the big reveals in the plot feel natural. And Luyanda’s arc feels earned and is magnified by Noxolo Dlamini’s superb performance. 
Dlamini and Ally’s performances as Luyanda and Albert are clear highlights in the film. Each performer brings a gravitas to the role, elevating the film’s tension. Action sequences are used sparingly in the movie, but all serve the plot well, never feeling like action for the sake of violence. A few supporting characters and some strained dialogue detract from some of the plot’s more emotional beats. Still, Dlamini and Ally’s commitment to character shines through, making Death of a Whistleblower a gripping thriller. 
The more Death of a Whistleblower feels like a Ludlum novel or even All the President’s Men, the stronger the story feels. Gabriel has created an excellent political thriller with dynamic themes, an engaging premise, and two fantastic performances. Yet, exposition overflow and some dragging scenes are noticeable throughout the film. Running at two hours and seven minutes (with credits), Death of a Whistleblower could lose a few minutes and still carry as much emotional weight with double the punch. Still, Gabriel and his crew have crafted a smart, well-rounded film. The attention to real-life whistleblowers drives home the story’s relevance even more. Gabriel’s connections to reality make Death of a Whistleblower more than an intriguing pseudo-spy film but a call for real-world change. 
Death of a Whistleblower screened at the 2023 Toronto International Film Festival.