A24’s upcoming thriller, Opus, directed by Mark Anthony Green, explores the dark side of fandom and the potential perils of meeting one’s idols. The film centers on Ariel Ecton, a budding music journalist portrayed by Ayo Edebiri, whose lifelong dream of interviewing the reclusive musical genius Alfred Moretti, played by John Malkovich, unexpectedly comes true. Moretti, a figure shrouded in mystery, emerges from a three-decade self-imposed isolation to share his new music with a select group, and Ariel’s surprise invitation suggests a specific interest in her perspective. This initial thrill of access quickly morphs into unease as Ariel’s weekend at Moretti’s secluded compound reveals a disturbing reality far removed from the image of the artistic icon she’d long admired.
The trailer for Opus hints at a descent into unsettling territory, blurring the lines between artistic eccentricity and outright cultish behavior. Ariel’s initial awe transforms into palpable fear as she witnesses strange rituals and unsettling interactions among Moretti’s guests, which include a captivating sex symbol, Clara, played by Juliette Lewis, and a seasoned entertainment journalist, Stan, played by Murray Bartlett. The opulent setting of Moretti’s compound becomes increasingly claustrophobic, imbued with an atmosphere of manipulation and control. The trailer’s glimpses of confused and alarmed guests, coupled with shots of Ariel fleeing in terror, suggest a narrative that explores the dangers of unchecked power and the seductive nature of charismatic personalities.
Opus appears to draw parallels to Mark Mylod’s The Menu, a darkly comedic thriller that skewers the pretensions of the wealthy and their obsession with exclusive experiences. Like The Menu, Opus seems poised to dissect the dynamics of power and fandom, exploring how easily admiration can transform into manipulation and exploitation within a closed environment. The film promises a suspenseful and disturbing narrative that delves into the psychological complexities of both the artist and the fan, questioning the boundaries of creative expression and the cost of pursuing one’s dreams.
The film’s focus on the music industry adds another layer of intrigue, suggesting a critique of the celebrity culture that often elevates artists to near-mythical status. Moretti’s reclusive nature and the carefully orchestrated unveiling of his new work amplify the aura of mystique surrounding him, making him an irresistible draw for those hungry for a glimpse behind the curtain. This curated image, however, appears to be a carefully constructed facade concealing a darker truth. Ariel’s journey becomes a cautionary tale, highlighting the dangers of idealizing public figures and the importance of critical thinking, even in the face of overwhelming charisma.
The casting of John Malkovich as the enigmatic Moretti reinforces the film’s unsettling tone. Malkovich, known for his portrayals of complex and often unsettling characters, brings a certain gravitas and unpredictability to the role, further heightening the sense of unease. Ayo Edebiri, a rising star in the comedy world, brings a fresh perspective to the role of Ariel, offering a nuanced portrayal of a young journalist caught between her professional ambition and her growing sense of dread. The supporting cast, including Juliette Lewis and Murray Bartlett, adds further depth to the ensemble, promising a dynamic and unsettling exploration of the various personalities drawn into Moretti’s orbit.
Scheduled for release on March 14, 2025, Opus is poised to be a chilling and thought-provoking cinematic experience. The film’s exploration of fandom, artistic obsession, and the manipulative power of charismatic personalities promises a disturbing thriller that lingers long after the credits roll. The trailer suggests a narrative that will challenge viewers to question their own relationships with their idols and the nature of celebrity culture itself. The film’s unsettling atmosphere and thought-provoking themes are sure to generate discussion and cement its position as one of 2025’s most intriguing and potentially disturbing cinematic offerings.
