**Opus: A Dystopian Dive into Celebrity Culture – Stream It or Skip It?**
In a landscape saturated with self-referential narratives, *Opus* emerges as a peculiar artifact that both critiques and inadvertently embodies the very phenomena it seeks to lampoon. Now available on various VOD platforms, this film from A24—an emblem of modern cinematic innovation—strikes a delicate balance between satire and horror. Directed by debut filmmaker Mark Anthony Green and featuring Ayo Edebiri as Ariel Ecton, a young journalist, the film is a swirling cocktail of eccentricity, dread, and cultural commentary.
### Setting the Stage
The film opens with a burst of vibrant energy, encapsulating the euphoric atmosphere of a pop concert. Audiences sway, sing, and lose themselves in the moment. However, this intoxicating joy soon gives way to the grim reality of Ariel’s life as a magazine writer in New York City. Over three years, she has faced the daily grind of pitching stories to her condescending editor, Stan (Murray Bartlett), who epitomizes the archetype of the dismissive male superior. As Ariel grapples with her frustrations, viewers are thrust into a world where ambition clashes with the stark power dynamics of the workplace.
This seemingly mundane setup swiftly transitions into the absurd as Stan receives an invitation to a listening party at the remote compound of reclusive pop star Moretti (John Malkovich). After a lengthy journey that includes a private plane and a bus ride through desolate landscapes, Ariel and a motley crew of media personalities arrive at Moretti’s compound, where the absurdity intensifies. The initial excitement of the event quickly morphs into a surreal exploration of celebrity culture, power, and the bizarre rituals that accompany fame.
### The Cult of Celebrity
Upon arrival, the guests are greeted by the “Levelists,” a group of devotees clad in blue robes, their demeanor eerily reminiscent of cult followers. As their cell phones are confiscated, the atmosphere grows increasingly claustrophobic. The film’s critique of celebrity culture is sharp, reflecting the current zeitgeist in which fans often blur the line between adoration and obsession. Moretti himself, portrayed as a bizarre amalgamation of iconic figures like Michael Jackson and Elton John, serves as a symbol of the excesses and absurdities of fame.
While Ariel tries to navigate this strange world, she remains the only character grounded in reality. Her skepticism stands in stark contrast to the blind admiration exhibited by her companions, who appear all too willing to indulge in the bizarre rituals surrounding Moretti. The film cleverly critiques the media’s complicity in the construction of celebrity personas and the ethical dilemmas that arise when journalism intersects with the glitz and glamour of fame.
### Cinematic Influences and Thematic Resonance
*Opus* draws comparisons to films like *Get Out* and *Midsommar*, both of which explore themes of isolation, manipulation, and the darker sides of human nature. Yet, while these films executed their thematic explorations with finesse, *Opus* often seems to stumble over its own ambitions. Despite its satirical undertones, the film falls prey to “we’ve-seen-this-story-too-much-lately-itis,” a condition afflicting many contemporary narratives that tread familiar ground without adding new insights.
The screenplay, while peppered with moments of humor and wit, often feels contrived, leaning too heavily on cliché and predictability. Green’s direction hints at potential but ultimately lacks the clarity needed to elevate the material. There’s a fine line between homage and imitation, and in *Opus*, the influences feel more like a crutch than a foundation for originality.
### Performances and Character Dynamics
Ayo Edebiri’s performance is a highlight, even if her talents are underutilized in a role that relegates her to the straight-woman archetype amidst a cast of caricatures. Malkovich, while a fascinating choice, delivers a performance that oscillates between engaging and bewildering, struggling to find a coherent expression of Moretti’s complex nature. Supporting characters, including Juliette Lewis as TV host Clara Armstrong, are left underdeveloped, failing to make a lasting impact.
### Final Thoughts: Stream It or Skip It?
Ultimately, *Opus* feels like a film that wants to say something profound about celebrity culture but becomes ensnared in its own convoluted narrative. The commentary on the ethics of journalism and the cult of celebrity is relevant, especially in an age where social media amplifies the reach of fame, yet the film does not fully capitalize on its potential. While there are moments of intrigue and dark humor, they are overshadowed by a sense of familiarity and predictability.
In the end, if you’re looking for a fresh take on the complexities of fame and media, you might find yourself disappointed. For those interested in a fleeting glimpse into the absurdities of celebrity culture wrapped in a quirky package, *Opus* may still entertain. But for most, it might be best to skip it.
John Serba, a freelance writer and film critic based in Grand Rapids, Michigan, encapsulates the essence of this cinematic endeavor—an intriguing premise that, unfortunately, misses the mark in execution.
