PunchSoldiers rescue 41 Senegal-to-Kano travellers in ZamfaraThe Jerusalem PostNew Octagon Project promotes civic engagement in response to ‘erosion of truth’ following October 7CNN TürkÖzgür Özel cumhurbaşkanı adayı mı? 'Forvetlerim' dediği İmamoğlu ve Yavaş artık yok!RTP DesportoPortugal vitorioso com Jesus tenta ficar perto do apuramento em CopenhagaInquirerSandiganbayan keeps Bonoan as accused in remaining graft caseUOLPrecisamos fazer a verdade importar novamenteThe South AfricanWhat R10 000 can buy for a family in South Africa vs Botswana20 MinutenFelssturz im Schächental: «Plötzlich wurde es komplett dunkel»The Sydney Morning HeraldCats open to a move for Nick Blakey, but club’s board would have to ratify a tradeStraits Times SportPalestinian karateka aims for world glory from West Bank after Asian Games exitVarietyDurban FilmMart Head on Why This Year’s Event Is ‘Looking Inward’ as African Screen Industries Strive to ‘Create Solutions’ on Their Own TermsHet Laatste NieuwsOpnieuw laat kind van Brad Pitt achternaam vallen: dochter Zahara (21) heet nu officieel Jolie
The Daily Newsstand · Free, Always
Tuesday, September 29, 2026

April X review – Connor Storrie searches for missing twin in dystopian dream-tech sci-fi thriller

Translate

Sketchy in every sense of the word, this sci-fi thriller is set in the not-too-distant future in a dystopian concrete city (actually mostly Bucharest looking like itself), where life is cheap but screenwriting conceits are clearly expensive, given most of the main ones here appear to be borrowed from other movies. Brother-and-sister twins Baxter (Connor Storrie, from Heated Rivalry) and April (Lilly Krug) are struggling to get by and mooching around the fringes of the criminal world, doing jobs on a spectrum of legality, though nothing especially harmful to themselves or others. He does petty crimes and she makes wigs and sells downloads of her own uncannily clear dreams (a nod to neglected 90s classics Strange Days and Until the End of the World where dream tech played key roles).

Unfortunately, Baxter and his screw-up associate Ronny (Tourialay Akbari) fall into debt to and afoul with local kingpin Klein (Serban Pavlu), whose persistent use of Yiddish phrases and general parsimoniousness sets up the characterisation just on the edge of antisemitism. When Baxter cleans out his and April’s joint accounts and still comes up short, someone takes April and her archive of recorded dreams/memories. Suddenly, the action jumps ahead five years in the future and April is both still missing and yet, at a local brothel, all too ubiquitous where it seems she’s been cloned to make numerous sex workers.

This nasty spin on human trafficking gets progressively ickier as the last act unfolds, especially as the film both wants us to be repulsed by the situation and seemingly titillated judging by all the shots of Krug, duplicated digitally, having sex with clients or sitting around languidly in lingerie. There’s a bit of jagged editing to make things look cleverer than they are, and lashings of hard-boiled voiceover narration from Storrie. The latter does his best to bring conviction to the material, but this is not a work that will feature prominently in his CV in the years to come.

View the original on The Guardian →

KioskNews shows a cleaned-up reading view extracted from the publisher’s page — the original always lives on their site, not ours.