Opus (15) |Close-Up Film Review

Opus introduces us to Ariel Ecton (Ayo Edebiri), an ambitious journalist striving to make her mark in the industry.

Her breakthrough comes with an invitation to the secluded desert compound of Alfred Moretti (John Malkovich), a reclusive pop icon,  who vanished from the public eye nearly three decades ago. Alongside other media personalities, Ariel attends an exclusive listening party for Moretti’s long-awaited new album. As the event unfolds, the guests are drawn into a labyrinth of bizarre rituals and unsettling occurrences, revealing the sinister underbelly of celebrity culture.

Opus embarks on an ambitious journey, blending elements of horror, satire, and psychological thriller. Visually, the film is a triumph. The cinematography captures the stark beauty of the desert setting, creating an atmosphere that is both alluring and foreboding. Each frame is meticulously composed, drawing the audience into Moretti’s enigmatic world. The production design complements this visual aesthetic, crafting a setting that is as disorienting as it is captivating.

John Malkovich delivers a performance that is nothing short of mesmerizing. His portrayal of Alfred Moretti is flamboyant and eccentric, embodying the mystique of a pop legend shrouded in secrecy. Malkovich’s ability to oscillate between charm and menace adds depth to a character that could have easily become a caricature. Ayo Edebiri’s role as Ariel provides a grounded counterpoint to Moretti’s extravagance. Her portrayal captures the determination and scepticism of a journalist navigating a world rife with superficiality and deception.

Despite these strengths however, the film falters in its narrative execution. The screenplay, while rich in concept, lacks coherence. The dialogue often meanders, contributing little to character development or plot progression. This disjointedness extends to the storyline, which feels like navigating a labyrinth without a clear destination. The film introduces intriguing themes, such as the perils of idolization and the vacuity of celebrity culture, but fails to explore them with the depth they warrant.

The pacing further exacerbates these issues. The film oscillates between moments of tension and stretches of inertia, leading to an uneven viewing experience. The horror elements, while present, lack the potency to elicit genuine fear or suspense. Instead, they come across as disjointed set pieces that fail to coalesce into a cohesive whole.

Moreover, its attempt at satire is undermined by its lack of specificity. The characters, representing various facets of the media landscape, are rendered as broad archetypes without the nuance necessary for effective critique. This superficial treatment dilutes the film’s commentary on the symbiotic relationship between celebrity and media.

In conclusion, Opus is a film that dazzles with its visual flair and boasts commendable performances, particularly from Malkovich and Edebiri. However, it is hampered by a convoluted narrative, lacklustre dialogue, and an unfocused thematic approach. While the film’s ambition is laudable, its execution leaves much to be desired, resulting in a viewing experience that is more perplexing than profound.