The Social Reckoning

 

Aaron Sorkin: The Social Reckoning (US 2026). Jeremy Allen White (Jeff Horwitz), Mikey Madison (Frances Haugen) and Jeremy Strong (Mark Zuckerberg). 

Tagline : Nous ne sommes plus là pour nous faire des amis (We're way past making friends)

US © 2026 Columbia Pictures / Alcon Entertainment / TSG Entertainment. Columbia Pictures a Sony Company Alcon Entertainment. Sociétés de production : Columbia Pictures et Escape Artists. Production : Stuart M. Besser, Todd Black, Peter Rice et Aaron Sorkin.

    Fiche technique

Réalisation et scénario : Aaron Sorkin, d'après les articles The Facebook Files de Jeff Horwitz. Photographie : Jeff Cronenweth - colour - scope. Décors : Jon Hutman. Costumes : Susan Lyall. Musique : Alexandre Desplat. Montage : Alan Baumgarten

    Distribution

Mikey Madison (VF : Lou Howard) : Frances Haugen

Jeremy Allen White (VF : Gauthier Battoue) : Jeff Horwitz

Jeremy Strong (VF : Jérémy Bardeau) : Mark Zuckerberg

Bill Burr (VF : Guillaume Lebon) : Charlie Garrigan (basé sur Roger McNamee)

Wunmi Mosaku (VF : Corinne Wellong) : Raya Akinola

Billy Magnussen (VF : Alexandre Gillet) : Teddy Marks

Betty Gilpin (VF : Ingrid Donnadieu) : Kris

Gbenga Akinnagbe : Andy

Anna Lambe (en) : Morgan

Aidan Laprete (en) : Zach

Kelley Pereira : Evelyn

Nelson Franklin (en) : Tom

Portia Doubleday (VF : Ludivine Maffren) : Kayleigh

Patrick Fischler (VF : Vincent Ropion) : Robbie

Joey Brooks : Brendan

Sierra Capri : Diaz

Tehmina Sunny : Amal

    Sociétés de distribution : Sony Pictures Releasing (États-Unis), Sony Pictures Releasing France (France)

Genre : drame biographique, thriller

Official genre definition: Dramatic Thriller

Durée : 112 minutes

    Dates de sortie :

France : 7 octobre 2026 

États-Unis : 9 octobre 2026

Finland : 9 Oct 2026 - distributor: SF Film Finland Oy - Finnish and Swedish subtitles by Timo Porri / Hannele Vahtera

    Viewed at Finnkino Kinopalatsi 10, Helsinki, 31 Oct 2026.

OFFICIAL: "Inspired by true events and the whistleblower who started the social media reckoning we’re seeing play out today, this Aaron Sorkin original screenplay is a companion piece to the hit film The Social Network and a true David and Goliath story. Frances Haugen (Madison), a young Facebook engineer, enlists the help of Jeff Horwitz (White), a Wall Street Journal reporter, to go on a dangerous journey that ends up blowing the whistle on the social network’s most guarded secrets."

AA: Aaron Sorkin is at his best in The Social Reckoning. I found The Social Network admirable at first sight but later found its portrait of Mark Zuckerberg shallow, disappointing and missing the point.

The structure of The Social Reckoning is based on three currents. Frances Haugen (Mikey Madison) represents the conscience and idealism of the Facebook project. Hers is the story of disillusion. What has happened with the fantastic original concept which she does not cease to love? Cory Doctorow has translated Flaubert's "emmerdissement " as "enshittification".

Jeff Horwitz (Jeremy Allen White, recently seen as Bruce Springsteen in Deliver Me from Nowhere) is an investigative journalist for The Wall Street Journal. He is an outsider in the world of tech and totally dependent on Haugen and other insiders. His investigation turns into a formidable detective story.

The key mystery is the MSI ("Meaning Social Interactions") algorithm with a power comparable with nuclear energy to turn ordinary chats into explosive and literally destructive hate speech - illustrated by the lethal rage of the 6 January 2021 United States Capitol attack, fueled by Facebook.

Because Jeff Horwitz the ignoramus represents us all, we get walked through the algorithm jungle with him in an exciting and transparent way.

The third current is about Mark Zuckerberg being rehearsed for Congressional hearings. I like the way he is presented here. Not in caricature anymore, but as one of the most powerful persons in the world, aware of the enormity of his clout. 

The Social Reckoning deals with the power of the media with the same sense of grandeur as Citizen Kane. It does it for the new online media, now more powerful than legacy media.

The aim is of Shakespearean and Wellesian magnitude. I am impressed by the ambition and need more time to reach a proper judgement.