The Death of Stalin

Joseph Stalin has just died, and the power brokers rush to fill the gap with schemes. A circle of rivals jockey for influence, each promising security while pursuing advantage. Meetings erupt in loud backroom brawls, half whispered plans, and public posturing as each faction tests whose authority will prevail. The drama develops through misread signals, reversals, and sharp lines that turn statecraft into comic theater. The fragility of the system becomes obvious as paranoia, vanity, and fear seep into every decision, turning policy into performance and everyone into a suspect. The result is a sly, dark comedy about a nation sliding from order to chaos. The film keeps a quick pace with a sprawling cast.

Directed by Armando Iannucci, it adapts the French graphic novel La mort de Staline by Fabien Nury and Thierry Robin, with a screenplay by Iannucci, Fabien Nury, David Schneider and Ian Martin. It was released in 2017.

The film grossed about 24.6 million worldwide on a 13 million dollar budget, marking a solid return for a political satire released by its distributor.

The Death of Stalin is notable for its snappy ensemble humor and biting satirical tone. Buscemi as Khrushchev and Beale as Beria anchor a cast that juggles power plays with comic timing, turning a tragic chapter into pointed farce. It sparked conversations about how far satire can go when real history is involved and left a lasting imprint on modern political comedies.

Critics generally applauded the audacious approach, strong comic timing, and the way the film handles difficult material without surrendering humanity. Some reviewers wished for more tonal balance, but most agreed the picture succeeds by focusing on power dynamics, fear, and the performative nature of loyalty. The result is a sharp reminder that historical moments hinge on personalities as much as events. It leaves you thinking about how history is shaped by people as much as events.