Warning builds its six stories around a premise that has already been settled: in a near-future world, technology has won. Characters are not fighting it, fearing it, or rebelling against it — they are comfortable with it, dependent on it in ways they have not stopped to examine. When a global meteor shower disrupts the electronics, what the disruption surfaces is not chaos. It is what was already missing before anyone thought to look.

https://www.youtube.com/watch?v=E0EtHm79YFE

Agata Alexander directed and co-wrote Warning with Jason Kaye and Rob Michaelson, marking her feature debut. The film premiered at the Sitges International Fantastic Film Festival in 2021. The ensemble is wide: Annabelle Wallis, Alice Eve, Rupert Everett, and Thomas Jane carry the larger segments, alongside Alex Pettyfer, Patrick Schwarzenegger, Charlotte Le Bon, and Tomasz Kot. Six interlocking storylines require that distribution — each one is a discrete case study, and the cast size follows the structural logic of the format.

The comparisons to Black Mirror are understandable and slightly unfair. Agata Alexander is not interested in the catastrophic potential of technology the way that series often is. Warning operates at a quieter register: it asks what happens to the capacity for human contact when technology has absorbed the function of providing it. This is not a film about surveillance, artificial intelligence, or corporate control. It is about what you lose by not exercising something — slowly, without a single moment when anything goes wrong.

Visually, the film sustains that patience. Alexander works with high-contrast near-future environments — spaces that feel simultaneously designed and slightly hollow — and a camera that stays close to faces during the moments the screenplay cannot fully articulate. The visual effects are functional rather than demonstrative, which suits a film whose arguments are human-scale rather than spectacle-scale.

The anthology format carries its own built-in unevenness: some segments land their argument with precision, others feel like setups the runtime does not have space to close. The structural connections between the six stories are more legible on a diagram than they are in the experience of watching. Alexander’s debut is clearest about what it is looking at, and less certain about how long to keep looking.

The segments that stay with you do not conclude so much as stop at the right moment — a gesture that goes unread, a system that functions perfectly and resolves nothing. Warning is building an argument that is easier to feel than to state, and when the film reaches that register, it is precise and unsettling without having to raise its voice.

Tags: sci-fi, Annabelle Wallis, Agata Alexander, Alice Eve, Warning