Unpredictable Luka Guadanino drama pays the limits of mystery

Using mystery in art can enhance a story, especially a story that is told in this type, because it makes the drama feel more realistic, or at least possible. This is because mystery in real life is less convincing. The mysterious nature of the conspiracy or characters in a movie can lead to awakening dreams about different theories and interpretations. But ambiguity in real life often leads to frustration, if not anxiety or fear, because the risks are real.

In his latest movie, “After the Hunt”, director Luka Guadanino is feeling the novel, if not a pioneer. It downloads the movie with mystery, and every scene is located in it. However, this is not an experimental or surreal movie similar to the David Lynch, as it is not a horror movie for Osgood Perkins, where ambiguity is hovering on procedures like a magic talisman. Instead, it seems that the ambiguity of “after hunting” appears to be a wooden fragment somewhere under your skin, where the pain hurts everything but it can never be determined or extracted. It makes the film an experience that is not immediately satisfied, not even for those of us who love thorny satire and chaotic social drama.

However, it is important, “after hunting” is convincing as it is uncomfortable, and ensuring its completed group that I never wanted to look. “After The Hunt” is a film that clearly does not make any answers to the countless issues it raises. However, it seems that Guadagnino puts many materials in front of us as much as we need to go to search for meaning and truth. It is this experimental component that prevents the film from being a disorganized worm.

On paper, it appears “after hunting” as a social film in the 1990s – Such as “Insiders” Or “detection”. However, the Guadagnino movie is not a type of type; It never escalates to the point of exciting excitement or violence. Instead, the director keeps the film in an equal model, which is more concerned than if things had come out of the deep end. The film is located in Yale during an unlimited point over the past fifteen years, and the film relates to a husband of philosophy professors, Alma Olson (Julia Roberts) and Han Gibson (Andrew Garfield), who have been close to years and both of whom will come to possession soon. Each of them has a pet student to receive; Alema is Maggie (Ayo Io Idiberi), a young black woman. One night, she hosts pain and her husband, Psychiatrist Frederick (Michael Stolberg), Hank hosts and a selected group of their favorite students of a party full of flowing alcohol and vibrant debate. After the party, Hank offers a walk in Maggie, which is what you accept. The next day, Maggie does not appear for any chapters, and it was not until late night when she appears in the Alma building and tells her teacher and friend that Hank attacked her sexually the night before.

From there, it seems that “after hunting” may turn into “he said/he said,” and it cancels the drama of culture, in which the litigation will be discussed and discussed the events of this fateful tonight until the truth comes out. Guadanino is certainly keen to provoke in this direction; The opening and closure of the film are accredited in an accurate manner of films Woody Allen is very canceled. In fact, the topic of the film not only remembers Allen’s personal life, but his films, specifically a drama such as “crimes and misdemeanors” and “the point of the match”. However, it has been shown that this is another layer of deception by the directors, because Guadagino does not use Allen as a creative effect but rather is exciting. Screen writer Nora Garrett on board with Luka. In one of the scenes, the University of Chloe Sevini’s University processor disrupted Smiths in a university pub, as she was surprised that they were playing them at all. Is she happy because the young people listen to a group that I grew up with, or was she surprised with pleasure that they were wonderful while playing a song from the canceled Morris? These issues and many other provocative issues that were raised during the movie, Garrett and Guadagnino do not provide any direct comment, or collide the line in a way that can be very lazy, cowardly, or not to some.

“After The Hunt” is a difficult movie that does not allow things to be planned with wide strokes. Fortunately, the actors’ team is more than just the task. Each of them weaves a mysterious network: Stuhlbarg’s pair can be a great role in less hands, but the actor gives him an atmosphere of mystery that involves a lot about Friedrich’s marriage and pain. Garfield refuses to allow it to become clichés (where she fears the character loudly), giving the man a sudden form and depth. The prominent offers belong to EDEBIRI and Roberts. Edebiri is quietly transforming into its role, as it twists its natural comic instincts to something privacy and smile. The latest provocative film is how Maggie is the source and center of a lot of drama, however it is the person we know the least. Some revealing her personality will be a smoking weapon in another movie, and another actor will benefit from this. Instead, EDEBIRI is our intention, there is no victim or maneuver but someone is anxious between them.

Roberts is no less than revelation. Her performance is very natural and certain that it seems like a kind of character that her entire career plays. It is certain that it is acceptable by Guadagino to arm Roberts’s beloved screen against her (and for us, but again, this is not a movie about deviant perception. Instead, it is a film about the unreliable awareness of it, especially what people continue to move the goals of goals and compose the rules of morals and morals without anything as a declaration. Guadagnino is not the Auteur type that uses the same involuntary cramps in each of his filmsAnd that is why “after hunting” feels 180 degrees from Satisfy the kinetic from “competitors”. Instead, the director and cinematic photographer Malik Hassan says and raises the audience by mixing more traditional structures (in this very heavy film) with intermittent POV insertions. They use the rules of cinema against us – do we see the hands of pain or Hank’s eyes while they are talking because they tell us secretly? Or Godagano and Sayeed may use these rules to help us, which means that the film can already be deciphered in parallel with Guadagino “Suspiria” and “gay?” It is better to appreciate “after hunting” is to accept the title index in the post -cases period, which is the interrogation “What now?” A moment after dust settles. In the movie, as in life, there are no easy answers, and although this means that the film is completely ill, it is also a mystery that I can’t give up easily.

/Film classification: 6.5 out of 10

“After hunting” opens in theaters on October 10, 2025.