“Beyond the Reset” envisions a life of imprisonment in a quarantine camp, one setup under the pretext of a killer virus (Corona). The main character a fictional Bruce Kowalsky, is imprisoned indefinitely as the virus allegedly ravages and eradicates humanity. Bruce has no contact with other humans, confined to small window-less apartment and small balcony, closed in by other Stalinist buildings housing their inmates. No leisure or outdoor time is offered. He does not work. His contact with the world is limited to propaganda films on a handheld screen, through which he also views propaganda news; and his diet, composed of noodles, soybeans, artificial veggies, imitation meat, insects, and cola, is rightly portrayed as unfit for normal consumption. The food is a form of torture.

Kowalsky and all members of his district were instructed to bring only “necessary personal belongings” to the camp after an emergency alert notified them that their area was “contaminated” with the virus. Beyond necessities, Kowalsky seems to have brought only one other item: the book “COVID-19: The Great Reset,” cluing in the viewer to the fact that Kuznetsov has drawn inspiration from the real book by that name, co-written by World Economic Forum founder and chairman Klaus Schwab.

While Kowalsky’s circumstances are clearly inhumane, such a future is not only plausible, it is even likely, considering that it has already been the reality (minus the bugs and fake meat) of many during the COVID “pandemic” in places like Canada, Australia, and China, where people were locked up in apartments, hotels, or actual camps for weeks on end, usually without face-to-face human contact and sometimes unable to even open a window for fresh air.

In fact, Canada and Australia should be considered countries that reflect the WEF’s vision for pandemic response better than most, considering that the WEF suggested these countries had some of the very best responses to COVID-19 in the world.

Thus, the sense that the filmmaker, Oleg Kuznetsov, is depicting a real look into the future comes from the film’s homage to recent history. This is enhanced by cutting-edge animation — while Kowalsky himself is depicted in a cartoonish manner, the sophisticated rendering of light and shadow makes his camp setting appear lifelike at times.

What really hooks the viewer, though, is the disturbing realism of Kowalsky’s day-to-day routine, the news propaganda, and his reveries about his formerly free life. By drawing from already-lived realities during COVID as well the WEF’s predictions for life under the Great Reset, Kuznetsov blurs the line between dystopian fiction and reality.

For example, the news Kowalsky views on a handheld device proclaims how the world is “struggling to bend the curve” of the latest variant of a supposedly dangerous virus, echoing the refrain we all heard during the COVID-19 outbreak. Kowalsky is also informed one day that camp inmates must wear masks when they step outside onto their balconies, another reminder of COVID-era policies.

Just as during the COVID outbreak, the pretext for the edicts governing the inmates is ridiculously flimsy. The outdoor mask requirement comes after the news announces that 30 million have tested positive for the virus, and five have died from it — an infinitesimally small number that reminds one of the fatality numbers used to justify lockdowns during COVID. The virus was said by the CDC to have less than a half-percent fatality rate, but many pointed out even these numbers were greatly inflated due to failure to account for other causes.

Kuznetsov also makes a point of highlighting the gross food rations Kowalsky is forced to eat. Disturbingly, his vision here, too, is already being materialized in the real world. In the film, due to the ban on real beef (Kowalsly is informed one day that all the cows have been offed to help the climate!) inmates can only eat fake meat, something that is being ramped up in grocery stores today. In major health food stores’ frozen section, plant-based burgers now far outnumber meat-based ones. Is this driven by demand, or by the sway of ultra-influential investors like Bill Gates, who is pushing for a switch to 100% synthetic “beef” in rich countries for a more “sustainable” world? You be the judge.

Then, Kowalsky’s diet supplement of “crunchy locusts” would seem a stretch, except that the World Economic Forum is also extolling the environmental benefits of insect protein as an alternative to beef, and school children are already being fed insect-laced chips in Australia.

In these ways and more, “Beyond the Reset” seamlessly blends recent world history with public WEF visions in a way that impresses upon the viewer that this horrible dystopia is not only possible — the world already has one foot planted in it.

The film is also powerful insofar as it paints the picture of a life so empty, listless, and miserable that it could inspire more driven viewers to preemptively work to avoid it through legal action. The key here is “preemptive” — if this is implemented on a global scale, there may be no going back.

One could argue that Kuznetsov doesn’t go far enough in showing how unbearable such isolation really becomes. Solitary confinement enacted for longer than 15 days is considered a form of psychological torture under international guidelines. Remarkably, studies have shown that at that point, some of its harmful psychological effects become “irreversible.”

For all of its keen observations, the film fails to address the most sinister but little-discussed part of the Great Reset: the ban on the practice of religion. Gender dysphoria the erasing of biology, sexual perversion, the destruction of the family, the elimination of mores and morals, the eradication of faith and God - all of these are part of the Great Reset.

The not-so-new-religious cult of Scientism, replacing faith in a transcedent God, a belief in design, a knowledge of human uniqueness, and a certainty in the power of the immaterial. All annihilated as Scientism erects the material, the communal, the technocratic, the anti-human theology of the Avatar and the edicts of Transhumanism emanating from unlimited mRNA accretions and DNA experimentation, with the main goal of depopulation and the creation of robots and automatons controlled by wireless frequencies and drugs