Director Luca Guadagnino is on a creative streak with films such as “Challengers,” “Queer,” and now “After The Hunt,” investigating how love and desire can skew our understanding of ourselves and the world around us. In “Challengers,” Guadagnino depicted a multifaceted love triangle that Zendaya recommended viewers experience twice for complete comprehension. In “Queer,” Daniel Craig took on the role of a man desperately longing for a younger individual. “After The Hunt” shifts away from external influences like a tennis tournament or an ayahuasca journey to amplify the tension; it instead centers on a web of desire and animosity among its protagonists.
Regardless of this compelling concept, “After The Hunt” faced mixed to unfavorable critiques during its globe premiere at the 82nd Venice International Film Festival, achieving a 49% score on Rotten Tomatoes, marking the lowest for a Guadagnino project. The screenplay by Nora Garrett navigates through a rape allegation within a university’s philosophy department, probing themes of truth, race, gender, and the splits between generations. Certain critics found Guadagnino’s style overly instructive and lacking in profundity, yet the film’s intellectual nature acts as a barrier against emotional realities that threaten to unhinge its characters.
“After The Hunt” features Julia Roberts as Alma Olsson, a Yale philosophy instructor nearing tenure. The story begins at a cocktail gathering in her residence, where her close colleague Hank Gibson (Andrew Garfield) shares her aspirations and more. Their student, Maggie (Ayo Edebiri), is crafting her dissertation under their mentorship. The balance of power is evident: Alma is idolized, while Hank, Maggie, and Alma’s spouse Frederik (Michael Stuhlbarg) contend for her focus.
The film refrains from offering straightforward resolutions. As Maggie accuses Hank of rape, the narrative unfolds through the lenses of Alma, Hank, and Maggie. Alma grapples with her affection for Hank, whereas Maggie feels the strain to publicly disclose her narrative. Alma’s history looms over her, and the film investigates the gap between Alma’s skepticism and Maggie’s outspoken truth.
The cast delivers remarkable performances. Andrew Garfield’s Hank is both charming and disconcerting, while Ayo Edebiri’s Maggie exemplifies resilience. Julia Roberts embodies Alma with poised brilliance, and Michael Stuhlbarg’s Frederik enriches the ensemble.
The film’s conclusion is puzzling, with a tonal shift that seems incongruous. Nonetheless, “After The Hunt” remains a compelling drama, propelled by outstanding performances and a script that delves into the intricacies of human interactions. While not revolutionary, it presents an engaging inquiry into the categories we adopt to connect, separate, and safeguard ourselves. “After The Hunt” is a superb drama with an ensemble that lives up to its excellence.
“After The Hunt” was evaluated at the New York Film Festival and is set to premiere in New York and LA on Oct. 10, with further expansion on Oct. 17.