In “April X,” Connor Storrie headlines his first film since achieving fame in TV’s “Heated Rivalry.” While it might be tempting to declare that Storrie shines in this sci-fi offering, the reality is less glowing. Taking cues from iconic roles like Harrison Ford’s stoic characters, Storrie shoulders the grim narrative of human cloning and trafficking set in a dreary dystopian landscape. However, the role offers limited creative scope, which leaves him projecting a sense of a working actor biding time for a more promising project—something that notably has come to pass. “April X” cleverly capitalizes on his newfound popularity, securing a theatrical release instead of fading into the abyss of straight-to-VOD films that likely would have better suited its journey.
Audience Appeal and Direction
While “April X” may attract only Storrie’s most dedicated fans, it does not tarnish his growing résumé. This film is unlikely to linger in public memory long before the next season of the acclaimed queer hockey series arrives. For writer-director Michel K. Parandi, this project serves as a significant debut. It showcases some resourceful technical skills on a tight budget, but the screenplay—co-written with frequent collaborator Jack Coulter—is far less impressive. By piecing together elements from more impactful films, the narrative veers into murky, uninvolving territory. It shares a thematic kinship with Agnieszka Smoczynska’s “Hot Spot,” which, while its quirks ultimately didn’t land, delivered a degree of imaginative flair that is noticeably absent here.
A Dystopian Setting
The film is set in an unspecified year characterized by the weary concrete structures of Bucharest, where the signs of decay signal a world on the brink of collapse. Although the location is not explicitly stated, “April X” effectively uses the present-day dilapidation of Romania as a metaphor for its crumbling society. Select glimpses of futuristic technology, such as drones, bring a touch of high-tech flair to the surroundings, but the innovations within the plot are depicted in a less than glamorous light. Cloning is conducted in shadowy underbelly settings, and memory downloading occurs via old-fashioned data devices, undermining any sense of a seamless, utopian future.
The Characters’ Journey
In this grim narrative, we meet twins Baxter (Storrie) and April (German actor Lilly Krug). They make a rough living through a series of dubious jobs, with Baxter becoming embroiled in the black market for organ trafficking, while April has a unique talent for dreaming. In a world where vibrant dreams have seemingly vanished, her vivid visions are lucrative and sellable. However, this potentially intriguing premise, reminiscent of “Strange Days,” is encountered with frustratingly limited exploration as the film treads a singular, bleak path.
The focal point of the story lies with Baxter, whose illicit dealings lead to encounters with local crime boss Klein (Serban Pavlu). As financial pressures mount following April’s sudden disappearance, Baxter’s desperate quest to find her unfolds. The plot then abruptly jumps five years forward, revealing not much change in the dystopian aesthetic aside from a longer-haired Baxter. Meanwhile, April’s essence appears spread across clone-like sex workers, raising the pivotal question of whether Baxter can reconnect with her soul through the manipulation of recorded memories. However, neither character draws enough emotional investment, leaving audiences apathetic to their fates.
Visuals and Overall Impact
Storrie navigates the film with a tense demeanor and intense gaze, yet the bleak world of “April X” lacks depth and vibrancy. While Nathan Haugaard’s widescreen cinematography and Oana Novicov’s distressed production design create a visually striking experience, the film misses vital details and textures that could draw viewers into its universe. The narrative holds a marginal degree of cohesion but ultimately provides unclear insights into Baxter’s life and challenges. Through this exploration of a dull dystopia, “April X” offers more of a cautionary tale about the mundane echoes of a potential future rather than a gripping reflection on a society in crisis.
