Ahmed Soboh

Ahmed Soboh’s “Lifeline” (2025) is a wild ride, honestly. The whole thing kicks off in a city that’s just dripping with neon and anxiety, where everyone’s glued to their devices but somehow nobody’s actually connecting. At the center is this paramedic, Salim, who’s so burnt out he runs on caffeine and pure stubbornness. He responds to emergency calls all night, but you get the sense he’s really just trying to outrun his own mess of a life—divorce, estranged kid, the works. Then, out of nowhere, Salim gets this call that changes everything. It’s not your average accident or overdose. There’s a kid, barely conscious, with this weird bracelet that nobody can figure out. Salim’s curiosity drags him deeper, and suddenly he’s unraveling a network of underground tech that’s messing with people’s memories and personalities. It’s like someone’s selling digital second chances, but the cost? Yeah, way sketchier than anyone realizes. The movie doesn’t just stick to one pace either. Some scenes are heart-pounding—ambulance lights flashing, Salim racing against the clock—while others hit you with this quiet, heavy loneliness. Salim’s got to decide: does he keep his head down, or risk everything to expose the truth? There’s this constant tug-of-war between hope and cynicism, and by the end, you’re not even sure which side wins. “Lifeline” isn’t just a thriller; it’s a gut punch about what we’re willing to forget to feel alive.