Social media is far from the great equalizer. In fact, it is more likely to be the great destabilizer. People concoct manufactured, manicured existences through a glossy filter. It is both real and unreal. Influencers permeate the social landscape, and silos are being created for those on both sides of the screen. It is a passage for change and communication, but also isolation and loneliness. The new film Iconoclast, starring Gabriel Basso (who also writes and directs it), tells a story of fragility meeting obsession. A dark and unnerving slow-burner that shows the effects of social media on the creator and user. While there are familiar beats, Basso injects interesting tremors via a mesmerizing performance and an acceleration of shocks.
Merriam-Webster defines iconoclast as a person who attacks settled beliefs or institutions. The direct translation from the Greek means “image destroyer.” In our 24-7, social-media, instant-gratification, no-stone-to-hide-under society, it is seemingly impossible to distinguish between reality and fantasy.
Iconoclast centers on the point of view of Connor (Basso), a reclusive loner whose only outlet is a live-streaming influencer, Nika (Courtney Eaton), who reshapes his entire existence. The epitome of a parasocial relationship, Connor spirals down as the lines between reality and fantasy blur. Addressing the current moment, when loneliness is something of an epidemic, the story attempts to deconstruct the paradigm of one-sided fixations that seem more rampant in this age of social media domination.
Technology, despite being the promise of a great equalizer, has led to tremendous instability. Moreover, the influx has resulted in divisions and unintended consequences. In the film, Connor develops a parasocial relationship with Nika, a woman he has never met but whom he streams every day. Basso, in the script, attempts to show how seemingly impossible and unnatural it is for millions of people to know someone online truly. The result is a one-sided bond that fuels resentment and dissension when the facade shatters.
The film epitomizes isolation. Connor lives in squalor. He works a crappy retail job at an appliance store. His only outlet is a daily trip to the gym. Even the romantic advances by his coworker, Morgan (Rain Spencer), go unnoticed. The rabbit hole of technology is one Connor continues to plunge into, oblivious to the dark impulses and unintended consequences. The soft glow of a social media streamer offers Connor his only outlet and escape from the harsh realities of his world.
Much of the film retreads familiar story threads. There is an examination of the fragility of the male ego. Isolation is a central theme of the story, with echoes of films such as Taxi Driver and even Donnie Darko. From the start of the film, it is established that Connor is losing touch with reality. He fantasizes about conversations with Nika and even engages in behaviors in an attempt to please and satisfy a person he has never actually met.
While there are familiar story beats, what makes the film succeed is Basso’s incredibly strong performance. Here, he shucks his tough-guy action hero status seen in the show The Night Agent. Whereas in that setting those strengths are the assets, here his brute force and knuckles are liabilities, and loneliness is a permanent fixture.
Connor’s obsession with what essentially is a random woman on the internet leads to self-sabotage and even self-harm. The commentary here is far from onesided, particularly regarding Connor’s grip on reality. There is an equally compelling story about the power and role of these influencers in our lives, and how, sadly, it is a two-way street.
There is an interesting undercurrent of the lies we tell each other. Connor tells everyone he has a girlfriend, even though he doesn’t. He believes in Nika’s dream scenario, which has devastating effects on his life. There is a contrast for Connor in the form of Morgan, who proves to be the only real connection in his otherwise manufactured life. Their dynamic adds a clever wrinkle as Connor struggles to come to terms with reality or the digital fantasy.
Connor is far from a pathetic character or the quintessential “nice guy is the problem” trope. He is a complex and at times even tragic figure, pulling and twisting as he reckons with his own insecurities. These moments allow for Basso to deliver a gripping performance that brings to mind Joaquin Phoenix in You Were Never Really Here. Now, the film is not repeating the same hymns; if anything, it is quite the opposite. Iconoclast lives up to its meaning and pulls a few surprises, especially by the end. The push and pull stem from his one-sided infatuation with Nika, showcasing a cautionary tale and a deeply unsettling tragedy. Its ability to surprise rather than conform to convention is refreshing.
The movie leaves us with questions. As the social media landscape changes, the lines blur, and everyone will be forced to confront the dark truth over what is real and what is fiction.
Ultimately, Basso keeps the story moving through intricate intercutting of Connor’s attempt to sever social media control while spiraling into madness. The acceleration of shocks keeps the film from devolving into pedestrian territory. For what it is, Basso’s debut film boasts a promising start, with an impressive flex of his acting muscles and the ability to take familiar material and add a fresh perspective.
Iconoclast held its World Premiere as a part of the Spotlight Narrative section of the 2026 Tribeca Festival.
Director: Gabriel Basso
Screenwriter: Gabriel Basso
Rated: NR
Runtime: 120m
A dark and unnerving slow-burner that shows the effects of social media on the creator and user. While there are familiar beats, Basso injects interesting tremors via a mesmerizing performance and an acceleration of shocks.
Writing & podcasting, for the love of movies.
His Letterboxd Favorites: The Dark Knight, Halloween, Jaws & Revenge of The Sith.
