OLIVER STONE’S LATEST film, “Snowden,” bills itself as a dramatized version of the life of Edward Snowden, the NSA whistleblower who revealed the global extent of U.S. surveillance capabilities.

Stone’s rendering of Snowden’s life combines facts with Hollywood invention, covering Snowden being discharged from the military after an injury in basic training, meeting his girlfriend, and training in the CIA with fictitious mentors (including Nicolas Cage’s character, most likely a composite of whistleblowers like Thomas Drake and Bill Binney). Snowden then goes undercover, only to see an op turn ugly; becomes a contractor for the CIA and NSA; and finally chooses to leave the intelligence community and disclose its vast surveillance apparatus, some of which he helped develop.

The movie hits key points in Snowden’s story, including his growing interest in constitutional law and the Foreign Intelligence Surveillance Court, some of the U.S. surveillance programs he eventually unmasked, and parts of his furtive meetings in Hong Kong with Glenn Greenwald and Laura Poitras (co-founders of The Intercept), as well as The Guardian’s Ewen MacAskill.

There are doses of artistic license — for example, a Rubik’s Cube hiding the drive where he stored the documents, and Snowden’s CIA mentor spying on his girlfriend through her webcam. In hazier focus are the global questions his revelations raised, including the legal and moral implications of the U.S. government collecting data on foreigners and Americans with relative impunity, and the very real stories born of Snowden’s massive disclosures.

So here’s a retrospective of sorts for moviegoers and others interested in the journalism Edward Snowden made possible through his decision to become a whistleblower: In all, over 150 articles from 23 news organizations worldwide have incorporated documents provided by Snowden, and The Intercept and other outlets continue to mine the archive for stories of social and political significance.

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