Billy Donoso 'The Death of Stalin' is a movie I deeply enjoy rewatching. Its cinematography is gorgeous, the editing rapid-fire and economic, and the long conversation sequences between the main ensemble of bumbling Soviets nothing short of brilliant. There are frequent callbacks to earlier trivialities in the film that make an attentive viewing feel very rewarding, although the movie more than suffices with its audio and sight comedy. The very deliberate blocking and grand, elaborate production design in the government buildings make the movie feel stiff in exactly the right moments, while the awkward shuffling of the Doctor with his scruffy pooch and the men in the forest to get to Svetlana are equally effective at making it all seem ridiculous. I adore the committee scene in which Molotov flip flops between wanting to honor Stalin's will with wanting to honor the power of collective leadership, and there are many moments like this of misguided and absurd political idealism that Iannucci so bluntly bashes. I will say that as an outsider to Soviet history, I get the impression that this story is maybe overindulgent at times. The red screens with official quotes are visually relieving in contrast with the blue color palette of the rest of the movie, but perhaps cement it too much in reality when I feel less that I've gotten a history lesson and more that I've gone to a standup comedy routine— incredibly enjoyable but incredibly personal and dramatized. For the most part though, I think it accomplishes what it sets out to do: satirizes an oppressive regime for unfamiliar audiences to make them curious about the reality of the period after the credits roll and familiar faces become scrawled out photographs buried in history.