Indie sci-fi continues to deliver the goods, and Kill/Save certainly catches the eye with its sleek, clinical aesthetic. The appeal goes beyond the visuals, though. Rather than dwell on the dangers of technology, the film flips the focus back on us, asking why we find more comfort in a simulation than in the real world around us. In other words, it’s the philosophical question Mark Zuckerberg would probably not want us to think about…
Written by director Den Kryuchkov and producer Olga Loyanich, Kill/Save takes place in a dystopian reality in which it’s practically impossible to venture into the outside world. We meet programmer Martin (played by Matt Testro), who isn’t a fan of the metaverse and still values human connection. This puts him at odds with Teresa (Stephanie Gil), the woman he falls in love with and who prefers spending time in the virtual world. When Teresa heads off into this artificially constructed world and fails to return, Martin goes after her, only to encounter the dangers (and secrets) of the simulation.
Think Neuromancer meets Super Mario Bros. by way of Ready Player One. It might sound like an unlikely combination, but hear me out. The obsession with the virtual world brings Ready Player One to mind, while the characters jacking themselves into another dimension also echoes William Gibson’s genre-defining cyberpunk masterpiece. Meanwhile, Martin’s quest to save Teresa feels very much like Mario storming the castle to rescue Princess Peach.
That being said, the story uses this all as a front to hide what’s beneath the surface: the theme of human isolation. It’s remarkable how two people can share the same physical space, yet one of them still desires to escape to a simulation. Testro and Gil do a tremendous job selling this duality; however, the film refuses to become preachy about whether this is right or wrong; instead, they demonstrate how escapism has become a coping strategy for many people to deal with the harsh realities of our world. In the end, it’s up to the audience to decide whether it’s healthy or not.
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There’s more to Kill/Save than philosophical musings, though. The film is packed with decent action too, especially as Martin uses different avatars to enter the metaverse and face off against AI enemies in his search for Teresa. Each avatar possesses its own unique fighting style, keeping the battles fresh and never repeating the same sequences whenever Martin goes in.
For the most part, Kill/Save hits the mark by keeping things simple. However, clunky dialogue and extra-heavy exposition hurt the film, reminding me of the worst qualities of a Netflix movie – you know, the one that recaps the plot every five minutes for the benefit of nincompoops who can’t put their phones down long enough to concentrate. I’m also still wondering what purpose Eric Goode’s character, Enty, actually serves.
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The rough edges aside, Kill/Save makes good on its billing as the anti-Matrix. This isn’t a story about humans trying to free themselves from technology, but about how we continue to become increasingly dependent on it. It’s a thought-provoking hook that raises good questions and might have you questioning your own online habits.
Kill/Save |
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In a locked-down megacity where reality is optional, a lonely programmer risks his mind to rescue his girlfriend from a virtual prison — only to face a truth that challenges the very meaning of salvation and free will. |
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| Studio: Radragon, Goldheart Producciones Audiovisuales |
| Running Time: 1h 34m |
| Release Date: November 17, 2026 |
| Cast: Matt Testro, Stephanie Gil, Eric Goode, Duane Henry, Joan Pedrola |
| Director: Den Kryuchkov |
| Writers: Den Kryuchkov, Olga Loyanich, Kurt McClung |
| Genre: Action, Sci-Fi |
| Box Office: N/A |
The Review
Kill/Save
This indie cyberpunk movie asks the following question: what if the simulation isn't the prison?
Review Breakdown
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Verdict
