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The same sci-fi archetypes are explored in Buist and Senechal’s latest endeavor, The Stratum. And while on the surface it might deceptively seem to have the same elements, the narrative is driven by malfunctioning AI systems, cynical and sociopathic characters, as well as inattentive clans, straying far from what the genre dictates. Senechal and Buist have created a narrative that is incredibly timely and pleasingly distressing.
It’s the year 2054, a pandemic has ravaged the world and, in essence, all that’s left are pockets of communities where heavily infected people cough up blood until they pass on. William Wright (Ramin Karimloo) is the CEO of Wright Corp and also controls the planet remotely from space. While he appears to be a self-made person that constantly furthers society, in reality, he is a vile being. His space-borne daughter, Ayla (Lauren Senechal) lives in solitude due to a unique allergy. Being highly incident towards her father’s insidious nature, the only thing she tends to is an AI+.
The Wright employee is being interrogated, and that is where The Stratum starts. The armed attackers reveal themselves as The People’s Army, a faction willing to take down Wright Corp by any means necessary. Edgar (Jonathan Medina) gets in touch with a skilled freelance hacker named James (Crash Buist) for a gig. He agrees because the payment is decent and the work is easy to do. But, James ends up getting tangled in something bigger where getting close to Ayla is essential.
Buist manages himself quite admirably for someone wearing so many hats: director, writer, and lead actor. He is quite impressive at juggling the science fiction elements such as the world-building. Being a low-budget one, Buist’s prop and special effect usage is very well thought out. There are holograms, wrist devices, AI vending machines, and even billboards stating, ‘No infected beyond this point.’ The glaring social inequalities of this dystopian world are made clear through imagery, although the blunt dialogue that sometimes does too much will help you understand everything, albeit ungracefully.
James acts as if he is trying to keep himself in control and maintain a positive outlook on the success of his mission. In reality, though, he has a tragic history that unfolds slowly. This tragic past serves as a perfect base for the audience to see the character’s morality grow deeper alongside Ayla and the potential dangerous side missions he undertakes.
The cast of The Stratum is quite good. Buist has given James some wobbly confidence and a flippant attitude, yet for some of the moments James is quite relatable because of the actor’s good performance. Senechal gives energy to Ayla’s quest to save humanity from her father’s greedy claws. Karimloo charms the audience as her father, delivering just the right amount of glossy menace that is required.
Moreover, the unending blending of real life and virtual images is very smart. It enables Buist to switch between James and Ayla, as well as, between places, such as, an auditorium, an art gallery, or even a spaceship, without interrupting the frantic pace of the scenes. James and Ayla do meet in virtual reality, but unfortunately the romance that unfolds between them leaves much to be desired. That is what ruins an already rushed ending.
The Stratum is a refreshing exciting ride for those looking to focus on the right note. Buist manages to balance the galactic adventure by concentrating on love, the battle for harmony, and taking responsibility for the actions we choose and learning from them in order to create a best wholesome future. Emerging with sci-fi components while struggling with social inequity and corporate greed, Buist parallels this journey to a struggle back on earth.
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