'Deleter' (2022) starring Nadie Lustre
Cover 'Deleter' (2022) starring Nadie Lustre

The Mikhail Red film recently released under the Metro Manila Film Festival bagged multiple awards—‘Best Picture’ included—but it left us less than impressed. Spoilers ahead; review contains mature or triggering content.

Jump scares, atmospheric scoring, captivating cinematography, an office setting seemingly without budget for more fluorescent lighting, burnt-out content moderators, and one top-billed star: Nadine Lustre as the jaded Lyra—Deleter had all the elements for an amazing movie experience but somehow, it felt underbaked.

The premise itself was a big draw—an inside look into the lives of content moderators. I entered the cinema with little expectation but with high curiosity as to how the film would tackle the gritty underbelly of our online lives.

Read more: Meet 9 Of The Biggest Social Media Stars From The Philippines

Who hasn’t encountered the occasional online video that left us with a pit in our stomachs? But such is the life (and quota) of content moderators: to ensure atrocious content never reaches the public eye. A fan of Lustre myself, I had anticipated a stellar performance from the multihyphenate star, and if I’m being honest, it was perhaps the only part of the film I enjoyed. Her portrayal of Lyra, a cryptic ‘keep-to-herself’ content moderator truly carried the film’s flimsy storytelling.

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'Deleter' (2022) starring Nadie Lustre
Above 'Deleter' (2022) starring Nadie Lustre

Here and there, there were moments of commentary on the vileness of content and human nature. "Nakakita ka na ba ng beheading video (have you seen a beheading video)?" Lyra tells her new-found friend, Jace, who had more interest in supporting her vaping habit rather than truly listening to her experience. The relationship between the two would prove to be the most humdrum (perhaps amusing) arc in the film. Every other scene was filled with tension and Red’s ambition to crescendo towards a bewildering end sequence.

The world-building felt rushed. The motivations of each character were left on the surface despite the movie’s heavy central drama: Aileen’s suicide. She becomes a vengeful ghost and seeks murderous retribution by first securing a blackout in the building, and second, leaving spine-chilling CCTV footage and a scary memo on Lyra’s work computer.

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'Deleter' (2022) starring Nadie Lustre
Above 'Deleter' (2022) starring Nadie Lustre

Aileen's struggles paled against the movie's incessant focus on Lyra’s inability to find any reason to smile and enjoy the fresh air. Instead of exploring the deep mental trauma that content moderators have to endure, Deleter opted to focus on Nadine’s beautiful close-up as she chooses to ignore or delete traumatic videos.

See also: Musician and Actor Nadine Lustre On Music, Fame And Mental Health

The supporting characters almost felt like Aileen herself: all ghosts and background noise. Additionally, their abusive boss—by all means, a proper movie villain—had little to no point of view. Maybe, he’s just your run-of-the-mill drug-peddling rapist. Are abusers made overnight? What does he get by lording over his staff? Why does no one fight back? Is this simply a case of lazy character writing? 

All of this is to say that while Deleter had such a rich world to traverse, it used the lives of content moderators as a proxy to stitch together well-filmed jump scares and picturesque lighting. I see why it won Best Picture, but it left me wanting more. There’s definitely no shortage of technical prowess to be found in the film itself. Red’s strong suit still shines – cinematography and editing were impeccable as expected.

Tatler Asia
'Deleter' (2022) Poster
Above 'Deleter' (2022) Poster

Yet, Deleter was more spectacle than anything else. It shot for ‘deep sociopolitical commentary’ but landed on ‘techno-horror popcorn flick’. . . truly a missed opportunity to explore the deep pain and torturous life of content moderation and with that, our larger online-obsessed lifestyles. For those who find themselves with similarly unsatiated curiosity, you're better off watching The Cleaners (2018) by Hans Block and Moritz Riesewieck instead.

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