
The Immortal Wars
2017

2020
Director
Thijs Meuwese
Runtime
100 minutes
Average Rating
No ratings yetSynopsis
It is the year 2027, eight years after the first outbreak of The Sickness, a highly contagious, adaptive and lethal virus. The world is now run by a pharmaceutical corporation called The Company, which distributes a treatment for the virus but charges a high price for it, putting the majority of people in a state of poverty and dependence.
Overall Score
Good
Category Breakdown
LGBTQ+ Representation
The film provides no explicit mention of LGBTQ+ characters or non-heteronormative identities. Without specific character details, no representation can be confirmed.
Gender Representation
The narrative disrupts traditional leadership hierarchies by replacing state authority with a corporate entity. However, specific character arcs regarding gendered agency are not confirmed.
Racial & Ethnic Diversity
The premise of a global pandemic and widespread poverty invites a critique of systemic oppression. This setting suggests a focus on how crises affect marginalized populations.
Religious & Cultural Diversity
The film offers a strong critique of Western institutional structures and capitalism. It frames pharmaceutical hegemony as a predatory force that maintains social control.
Disability Representation
The central virus serves as a biological catalyst, but it is unclear if physiological conditions are treated with agency. The film may explore the intersection of illness and neglect.
Strengths
Areas for Improvement
AI Analysis
Kill Mode uses a science-fiction setting to examine systemic inequality and corporate dominance. The story centers on a pharmaceutical corporation that maintains control over a population through economic dependence and a lethal virus. The film's strength lies in its institutional critique. By framing a corporation as the primary governing force, the narrative deconstructs traditional power structures and explores the social stratification caused by predatory capitalism. However, the film lacks specific details regarding individual character identities. While the systemic themes are present, there is no clear evidence of representation for LGBTQ+ individuals or specific gendered or racialized character arcs.

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