The opening scene of “The Influencer” (2022), directed by Louie Ignacio, is a dizzying display of neon lights and frenetic energy as we’re introduced to Yexel’s world—a digital nomad navigating the glitzy underbelly of online fame. The film, a thriller-drama hybrid, centers on Yexel (Sean de Guzman), an influencer whose life takes a dark turn when his casual encounter with Mina (Cloe Barreto) spirals into obsession.

Ignacio crafts a visually striking world, using sharp, digital aesthetics to mirror the cold, calculated nature of online personas. The film’s strength lies in its exploration of modern relationships and the blurred lines between public and private lives. Cloe Barreto delivers a standout performance as Mina, her portrayal of a woman unraveling under the weight of betrayal and obsession is both chilling and captivating. Sean de Guzman, too, holds his own as Yexel, embodying the charisma and self-absorption of an influencer with unsettling authenticity.

However, the film falters in its pacing. The first half is a whirlwind of glamorous parties and provocative encounters, but the tension that builds up evaporates into drawn-out confrontations and repetitive arguments. The thriller elements, which promise a gripping descent into madness, are undercut by predictable plot twists and a lack of sustained suspense.

The supporting cast, including Elizabeth Oropesa as Des and Ruby Ruiz as Mayra, add depth to the narrative but are often sidelined in favor of the central couple’s melodrama. The film’s attempt to critique influencer culture is also hampered by its own indulgence in the very spectacle it critiques. Scenes of hedonistic excess, while visually impressive, sometimes feel like they’re glorifying the lifestyle rather than interrogating it.

“The Influencer” is a compelling but flawed exploration of modern relationships and digital fame. It’s saved by strong performances and striking visuals, but let down by pacing issues and a lack of narrative tension.