While secret societies and the making of the illuminati are exactly what horror movies are made of, there is something about the latest film out of A24’s slate that just premiered at Sundance aptly titled Opus, that makes this film a bit intriguing to watch.
First and foremost our lead protagonist Ariel is played by Ayo Edebiri who has been on an upward trajectory since her work on The Bear. Then there is the legendary John Malkovich who plays Alfred Moretti, a legendary pop star who disappeared 30 years ago.
The story of Opus unfolds as a captivating thriller where the world of Alfred Moretti’s music intertwines with cult-like fanaticism. During the Q&A for the film’s premiere at Sundance, director Mark Anthony Green explicitly stated the character was not singularly modeled after any particular entertainer. This film marks the director’s feature debut. The narrative is brought to life through the perspective of Ariel, an ambitious yet overlooked journalist at a prominent music magazine, trying to break through professional barriers. Her big break comes when she’s invited to an exclusive listening session at Moretti’s desert compound — a reclusive music legend returning with his first album in 30 years.
However, this exclusive event turns sinister and gets a little weird as Ariel finds herself surrounded by Moretti’s stans and followers. And us, the audience, are laughing with Ariel at the ridiculousness of it all, from one bread roll being shared in bites from every participant at the dinner table to seeing a man obsessively search for pearls inside of clams and stabbing himself in the process, it’s clear that something is not right here. The film probes themes of belief systems, power dynamics, and the sacrifices that bind communities, creating a hauntingly atmospheric tale. As Green explores the cost of collective devotion, Opus becomes both a psychological thriller and a commentary on the price of fame and influence.
And while Ariel is this underappreciated journalist, there could be something said metaphorically about truth in journalism and how it’s a lost art. Ariel is one of the few people that maintains some sense of balance, normalcy and honesty amongst her idol-worshipping peers who are completely inattentive to their surroundings and are willfully ignorant to odd circumstances that occur around them. Edebiri’s authenticity in Ariel’s character brings a relatable and empathetic layer to the film’s unraveling mystery.
In Opus, we are getting a refreshing subversion of common horror tropes. As a character, Ariel is neither reckless nor foolish, but instead she’s smart, relatable, and grounded. Her heroism feels earned rather than forced. And that is truly thanks to the script’s commitment to balancing her intelligence with a touch of her character’s youthful inexperience. We see that in her candid questions to Moretti, such as whether the rumors about him owning Freddie Mercury’s teeth are true. This moment highlights her youthful curiosity and humanity amidst the overwhelming pressure of engaging with one of the most enigmatic figures in music history.
The lack of response from Moretti in that moment is priceless.
Juliette Lewis shines in Opus as Clara Armstrong, a celebrity gossip show host who exudes confidence and charisma. Clara thrives in the world of trendy journalism, where her audience treats her like a celebrity in her own right. Melissa Chambers takes on the role of Bianca Tyson, a seasoned paparazzi photographer, bringing an authenticity and weariness that fits the character’s grueling profession.
Stephanie Suganami plays Emily Katz, a social media influencer invited more for her clout than her connection to music. Suganami highlights Emily’s opportunism: she’s there for the prestige and the Instagram-worthy moments, not for the artistic experience. Together, Chambers and Suganami bring layers of complexity to Opus. Bianca’s seasoned skepticism and Emily’s clout-chasing optimism embody contrasting responses to fame and the enigmatic pull of Moretti’s world, creating rich dynamics in the film. Stan Sullivan, played by White Lotus standout Murray Bartlett, embodies the archetype of the “old school” boss running a prominent music magazine akin to Rolling Stone.
Where Opus fails to land however is its ending, while I obviously won’t disclose how the movie ends, I will say that it’s pretty clear that writer-director Mark Anthony Green didn’t quite know where to go with direction of his story at the end of the third act, which in my opinion was the best part of the film. The first act was strong, the second act dragged during some moments and the third act delivered what you would expect in a horror film, especially a good body horror film. However, there was no there there after the dust settled, which was a bit unfortunate for such a compelling narrative. Â
Overall, Opus is an intriguing film with a lot to say about the state of the pop culture fandom, integrity in journalism and how the two intersect. But most importantly, what do we do when we cross that intersection? Are we accountable and stand up to our idols? Or are we lemmings who turn a blind eye simply because it’s stan culture? The question remains.
Opus premieres in theaters March 14th.
