In the broadest strokes, Opus presents a familiar narrative that may invoke feelings of movie déjà vu. If you’re a fan of the arty horror genre often associated with A24, you might recognize similar themes in this film. An eccentric character invites guests to a secluded location where secrets are unveiled, shedding light on the superficiality of those gathered. While Opus may seem like a recycled version of its A24 predecessors, it offers a unique perspective that is both intriguing and narrow.
At its core, Opus delves into the world of pop stars and celebrity culture, focusing on reclusive musician Alfred Moretti and his highly anticipated album release after a 30-year hiatus. Junior reporter Ariel Ecton finds herself among the handpicked guests at a luxurious listening party, providing an outsider’s view into the extravagant lives of the elite. However, the film’s true focus lies not on celebrity figures but on the individuals who cover them, highlighting the struggles of a marginalized magazine writer like Ariel.
The director, Mark Anthony Green, draws from his own experiences in the magazine industry to offer a behind-the-scenes look at the complexities of celebrity journalism. Through Ariel’s journey, Opus explores the blurred lines between observation and participation, showcasing the challenges of uncovering the truth in a world where performance and authenticity intertwine.
While Opus excels in its introspective examination of celebrity culture and journalism, its horror elements fall short in delivering anything groundbreaking. The film adheres to a conventional formula, albeit with a few twists and turns along the way. The desert setting of Moretti’s compound adds a sense of isolation, but the lack of visually striking elements may leave viewers wanting more.
John Malkovich’s portrayal of Alfred Moretti adds a layer of intrigue to the film, offering a unique take on the role of a pop icon with a cult following. The blend of Bowie-esque music and dance-pop beats further enhances the unsettling atmosphere, making viewers question the boundaries between admiration and obsession.
While Opus succeeds in sparking thought-provoking questions about fame and idolatry, it falls short of fully embracing its potential. The film’s moments of brilliance are overshadowed by its adherence to familiar tropes, ultimately preventing it from reaching its full creative potential.