Movie Review: First Person Savior
One-liner: While constrained by budget and technical consistency, this indie psychological drama has a curious concept, a promising lead and a raw experimental edge.
The term “First Person Shooter” (FPS) describes a massive genre of video games where the player adopts the perspective of a gunman. Typically violent, these games simulate the weaponry and skill sets required to eliminate enemies. First Person Savior is a clever play on this moniker, adding a psychological dimension to the familiar tropes through its overarching narrative.
The film follows Abe, a lowly, isolated man who spends his nights playing violent shooters and his days sweeping a parking lot. Alienated and possibly grieving the loss of his mother, his existence is defined by a repetitive, mundane routine. The character’s numb and suppressed state serves as an interesting reflection on today’s escapist and warped culture of excess. The film starts with a “God’s eye view,” descending from the heavens into Abe’s world to document his cycle of manual labour, gaming, insomnia and junk food.
This is an experimental project from Ramzi Abed, who spearheaded the production from start to finish. Having curated this low-budget feature from a long-germinating idea, Abed took on the bulk of the creative responsibility – serving in the most influential roles as writer, producer, cinematographer, director and editor.
The film draws parallels to Falling Down and Groundhog Day, tapping into the themes of workplace-induced stress and the “déjà vu” of the daily grind. These conceptual influences serve as an undercurrent for a fly-on-the-wall satire that weaves through multiple genres. Abe played by John Karyus, feels like a character who would be right at home in Office Space, lending a comedic slant to his existence, even as the sci-fi soundtrack and dark, surreal elements take hold.
As an experimental piece, it eschews conventional storytelling. The script is sparse; instead, the narrative is built by simply accompanying Abe on his commute or sitting with him in his solitary gaming setup. While the concept is curious, it occasionally feels like a short film stretched to feature length. However, the “Lynchian” undertow provides a dreamlike quality that keeps the viewer engaged.
“Society, right!?”
This is “guerrilla filmmaking” in its truest sense, with much of the footage shot handheld and in the space of 5 days. This raw approach is reflected in the sound edit which, while creative, is occasionally jagged and inconsistent. The use of intermittent frame flashes and dark filters further reinforces the experimental aesthetic. The production’s low budget is evident in the technical execution – lighting, sound and wardrobe are often a matter of “it is what it is.” Nevertheless, Abed is resourceful with this micro budget film, using simple lighting effects to enhance the mood and assembling a cast that delivers varied results.
John Karyus features in almost every shot, delivering a quietly captivating, understated performance. He nurtures the character’s “calm-like-a-bomb” disposition with very little dialogue. While the supporting performances are variable with a stand out from James Duval as Tragic, their limited screen time keeps them unobtrusive. Once the viewer accepts the indie spirit and budgetary parameters, the film’s “dangerous” air… a sense that anything could happen around the corner… becomes its greatest strength.
First Person Savior is an oddity with cult appeal – a “kitchen sink” psychological drama warped into a surreal daydream where the edges of reality blur. While it is clearly restrained by its budget – and would have benefited from greater technical consistency and a tighter runtime – it remains a mercurial genre mix.
Abed’s film captures a specific atmosphere and mood with flair. While the slow pacing and technical rough edges mean it is best suited for “arthouse-adjacent” audiences, it successfully translates a unique vision of isolation and escapism.
The bottom line: Experimental
No rating
