The Fix review – From District 9 to District Fix

When it comes to film, distinctly South African science fiction, where the Rainbow Nation doesn’t stand in for another location, is in short supply. There are the notable likes of Fried Barry and, of course, Neill Blomkamp’s Oscar-nominated District 9, but after that, examples are a little harder to conjure. Now expanding the genre, though, is Showmax Original The Fix, which comes across as District 9 by way of the Resident Evil TV series – thematically and tonally.

Having had its world premiere at the Chattanooga Film Festival in Tennessee in June, body-horror actioner The Fix enjoyed its African debut earlier this week in Cape Town. On Monday, 2 September, it was the opening night film of MIP Africa, itself part of FAME Week Africa 2024.

The Fix is the sophomore feature from writer and director Kelsey Egan, whose first co-written film, the “pastoral post-apocalyptic” Glasshouse (another Showmax Original) won five awards at the 2022 SAFTAs. Egan, who incidentally was a script supervisor for District 9, laboured for a decade to get The Fix made, and the result is another dystopian tale, although one that is decidedly more mainstream than moodily artful.

In The Fix, the world’s air has turned toxic. Cape Town-based model Ella McPhee (Grace van Dien, who played doomed cheerleader Chrissy in Stranger Things Season 4) has the money and position to keep herself safe, but her cool exterior hides deep insecurities. In a self-destructive moment, Ella downs a new designer drug, only to trigger a terrifying physical transformation. It turns out the party drug is actually an experimental treatment developed in secret by Cape Flats scientist Solomon (Keenan Arrison), who is trying to make people immune to the airborne poisons. Suddenly, Ella finds herself pursued as various groups – including Solomon’s Big Pharma boss (Fear the Walking Dead’s Daniel Sharman) – want to harness her mutations.

The Fix is at its strongest when, much like Glasshouse did with isolationist mentality, it holds a mirror up to the socio-political inequalities that the COVID-19 pandemic laid bare. In The Fix, the rich and privileged enjoy unmasked freedom of movement thanks to a highly expensive drug that is in short supply. Everyone else is permanently masked or holed up in buildings with purification systems, while the destitute and rural population have suffered the highest casualties due to their inability to escape the polluted air.

This kind of credibility creates a strong foundation for The Fix. It extends to the film’s production design, with its well-considered and convincing depiction of near-future fashion and youth culture. In terms of the latter, that comes through strongly in the personalisation of ventilator masks. There’s no question that The Fix is a very good-looking film.

The problem is The Fix’s breakneck speed. While the film’s world is established in detail, the same doesn’t go for the characters. There just isn’t, ahem, breathing room for the cast, even though performances are solid. On that note, standing out are supporting players Tina Redman, who plays Solomon’s resourceful right-hand woman Spider; and Robyn Rossouw as Gina, Ella’s best friend, who delivers some relatable emotional authenticity as she calls out the protagonist’s initial self-absorption.

It’s just that The Fix is hampered by its ensemble approach to storytelling. Focus is fragmented between a good half dozen figures, meaning that character development is reduced to short-hand, while intriguing topics are raised in a line of dialogue, only to be abandoned as the action bounces elsewhere.

If the narrative had stayed focused on Ella, and her journey, things may have been different. Audiences could have received a deeper exploration of how she reflects women’s position in society; the prioritisation of body over person. To start with, Ella’s perceived value lies in her beauty. Even with the loss of her attractiveness, though, the focus remains on what she can physically “birth” as a medical solution for the crisis.

That’s an uncomfortable realisation, but there’s no space for quiet contemplation of the matter. It’s gratifying that Ella gets to use her new mutation-linked powers to free herself from her cage, but it also means that The Fix ends up playing out as an adolescent superhero story. This is reflected in how 99% of the characters sit in the same fresh-faced age bracket, and even the villain is burdened with parental hang-ups, in the surprising form of Clancy Brown.

The Fix should find an audience due to its accessible nature and high energy. However, if you loved the measured sophistication of Glasshouse, you’ll likely find this one heavy-handed and cheesy, especially in its final act, and especially in relation to its overbearing soundtrack.

The Fix will debut on Showmax on Thursday, 31 October for Halloween.