Director Mark Anthony Green, under the production of A24 and equipped with a star-studded cast, debuted a disturbingly irresistible psychological thriller that struggles to find a clear narrative throughout its screen time.
In A24’s new film “Opus,” journalist Ariel Ecton, played by Ayo Edebiri, travels to a secluded compound along with other journalists to witness the re-emergence of a legendary popstar, Alfred Moretti, played by John Malkovich, who had vanished from the public eye 30 years ago. Surrounded by devoted zealots of Moretti, the guise of a beautiful musical getaway dissipates and she becomes overwhelmed by the twisted scenes around her.
“Opus” serves as a commentary on the cult-like followings of entertainers and celebrities. The film contains themes of undying devotion, obsession, consumption, and corruption. Early into the film, the magnitude of Moretti’s pull on his fans and the rest of the world is illustrated as they all wait with bated breath to see the select few who will be invited to his exclusive listening party.
As the film moves forward, it’s hard to deny that his fans are anything less than full-heartedly devoted to him. Crazed fans pop out from waiting in their cars as our main characters pull up to the compound and while the camera follows Moretti, gazes from onlookers in the background are so intense they pull attention away from him. When a character voices small doubts about Moretti’s actions or their current circumstance, others react as if it’s the first time anyone has made the bold choice of refusing his greatness.
The exposition of the film is told through uncomfortably crisp audio, eclectic and funky new music, and vibrant colors that make it difficult to look away — even when it’s painful to watch. The main story surrounding Moretti and Ecton is often undermined by the various subplots at play, taking away the ability to be fully immersed in the film.
While the film was timely, fun, and visually compelling, I left the theater feeling as if it was unfinished. Some characters and plotlines felt well developed, but others felt as if they were being made up as the movie was; the backgrounds of characters and their relationships had little to no connection to their actions throughout the story and felt unneeded. Aspects of the ideology of the community Moretti was a part of were brought up once — maybe twice — but never mentioned again or elaborated on, which only had my intrigue further deflated. As in classic A24 fashion, there are twists — although rather predictable ones — and a few moments with a shock factor that made me pull back in my seat with my hand over my mouth in horror, which was a nice change from the prolonged minutes that I felt would never end.
With so many conspiracies surrounding the entertainment industry, specifically the hierarchy of the music industry, this film felt perfectly relevant. It hit all the notes of strange followers, unconventional group rituals, and a theology that would not be accepted in the outside world; however, I found what should have been the climactic scene to be lacking surprises, and the end to have no real concluding tone nor an open-ended question that would make me want to see a sequel to the story.
In my opinion, anyone who knows A24’s style of production would find their expectations severely unmet and disappointed but would understand the vision behind it.
Overall, I would say that Mark Anthony Green’s “Opus” was an honest and modest debut that could have been perfect if given a little more time.