OPUS (2025)
Some would argue the trope of a sinister cult in cinema is tired and overused but personally, I love to dissect the inner workings of religion, society and spiritual groups through the lens of cults. Sure, we’ve all seen this type of film before, most recently Zoë Kravitz’s Blink Twice (2024) and of course the queen of all cult movies Ari Aster’s Midsommar (2019). Despite the similarities Opus (2025) may have with these features, it still attempts to separate itself from the typical cult representation.
Opus means work, especially in relation to a musical composition. Essentially, the Opus of this feature is artist Moretti’s return and album reveal.
Opus (2025) is Anthony Green’s directorial debut and the film started extremely strong for me, the opening credits of fans dancing erratically to Moretti’s music embedded the notion that this man has power and influence through his music. Sadly, as the film developed the story only got more diluted. Meaning the initial suspense and mystery of Moretti and his following lost all meaning and credibility, I wasn’t strictly sure why they were acting the way they were and a lot of the aesthetic decisions were made without intention. Why was his lobster blue for instance? Why was the colour blue used throughout the film with no explanation?
In saying that, the cast had great chemistry with one another and created a toxic yet comedic rapport with one another. Ayo Edebiri (Ariel Ecton) was magnetic in the core role and acted as a likeable and strong final girl alongside John Malkovich (Moretti) who, in my opinion, was a perfect cult leader casting.
The plot consistently diminished Ariel’s achievements and talent, she was subjected to the note taker and was exiled from the primary group of guests. By the end of the film it was almost suggested this was all part of the divine plan, Moretti knew she was young and impressionable therefore, all that happened was meant to happen. Ariel was supposed to escape, Ariel was meant to write her book and she was destined to give the cult global fame and reach. To me, that ending was a little lacklustre. Although, I do understand the social commentary and mirroring, when bad things happen in reality we all band together to understand it and promote it. Let’s write a book, let’s make a movie about that hot serial killer - I get it. Society loves to promote and share disturbing and often upsetting stories but as a feature film, this plot wasn’t clear enough.
The film tried to be far more profound than it appeared and sadly the deeper meaning of the film fell short and didn’t make an impact. I was invested in the story originally and I liked the use of music as a way to invoke his agenda, Moretti used Ariel for his personal gain and this was a clever reveal but I just didn’t add up. I was left scratching my head thinking, wait, that didn’t make sense. Sometimes audiences are happy to be left in the dark but when you’re watching a film about a cult you need to know their intention, what is their plan? Why are they living this way? Opus (2025) didn’t clearly give us any answers, it is all up for interpretation and that is a little lazy to me.
Overall, Opus (2025) was mildly thrilling and entertaining. It started strong but slowly lost my interest. I found the first half of the film to be really intriguing and enigmatic but as we reached the half way mark the film became predictable and unfocused. All of the characters actions were supposedly intentional but felt chaotic and unplanned - the ending of the film revealed all of Ariel’s decisions were expected and planned. I was excited for this film and expected more from A24 but was left a little deflated and disappointed.
Probe Points
★★★☆☆
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