Hy3na (2026) Review

Hy3na (2026) Review

After a violent car crash links Nicole and the enigmatic Rachel to a string of brutal murders, two detectives uncover a world of corrupt online sex work, obsession, and manipulation. As Nicole recounts her descent into Rachel’s seductive influence, the lines between protector, predator, and identity begin to collapse.

The film is written and directed by Matthew Ninaber and produced by Jacqueline Ninaber. Matthew Ninaber has crafted a name for himself since the release of his previous films Death Valley (A Shudder Original), and A Knight’s War, the medieval horror that blasted to number 7 on Amazon in the US last year. On screen, Ninaber played the title character in Steven Kostanski’s Psycho Gorman along with various characters in the recently released Deathstalker reboot.

HY3NA stars Storm Steenson (Cup of Cheer, Beyond the Chamber of Terror), Kristen Kaster (Death Cycle, A Knight’s War), Jeremy Ninaber (A Knight’s War, Death Valley), and Matthew Ninaber.

Initially, Hy3na grabs the attention. It is colourful, vibrant and immediately announces itself with a terrific axe-to-the-head kill that sees the weapon remove the top of its victim’s skull — a striking opening that certainly bodes well for what lies ahead.

Unfortunately, that early promise isn’t entirely sustained. It soon becomes apparent that, in order to tell its story, the narrative is going to flick back and forth through different points in time. While this technique can be highly effective when handled well, here it arguably adds unnecessary complexity to what is ultimately a relatively straightforward and predictable story. Rather than creating intrigue, the fractured narrative occasionally becomes something of a muddle.

There is an undeniable sense of style to Hy3na, but ultimately it feels as though style has been allowed to take precedence over substance. The plot becomes increasingly obvious, meaning that there are few genuine surprises to keep the viewer guessing. Even the kills, which initially promise plenty, gradually lose their impact. What begins as vibrant, startling and energetic eventually becomes increasingly pedestrian and tired, leaving the film struggling to recapture the spark of its opening moments.

There is, however, an interesting idea at the heart of Hy3na. The director was drawn to the project by the question of how much we are willing to change ourselves in order to fit into society, alongside the unfair judgement directed towards those who “sell their bodies”. The underlying suggestion is that, in one way or another, we all do exactly that, whether through our labour, our appearance or the compromises we make to conform to society’s expectations.

It is an intriguing premise, and one that gives Hy3na considerably more to chew on than its bloodshed might initially suggest. Sadly, the execution doesn’t quite match the ambition. What starts with considerable visual energy gradually settles into something far more conventional, leaving Hy3na as a film with some interesting ideas and an impressive opening, but one that ultimately struggles to turn those ingredients into something genuinely surprising or memorable.

HY3NA had its World premiere at Tubi FrightFest London on August 31st