Director Alex Russell made ‘Lurker’ about obsessive fandom. He’d rather not talk about himself

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At CineFile Video, a well-stocked, tightly packed movie store located in Los Angeles’s western district, we find ourselves nestled between the “Various Horrors” and “Troubled Youth” sections.

In a collection of physical films, I ponder how “Lurker,” the debut work by writer-director Alex Russell, will ultimately be categorized here. A shelf facing him is filled with DVDs and Blu-rays marked as “Gay.” This observation makes him laugh. “That’s me,” he remarks.

Initially, with crossed arms and appearing somewhat reserved, 34-year-old Russell seems hesitant to engage in conversation. However, discussing his work is a new endeavor for him, something unfamiliar that he’s yet to embrace wholeheartedly. As the conversation delves deeper into the creation and significance of his movie, Russell will loosen up, and his thoughts on the subject will pour forth naturally.

The new film ‘Lurker’ releases this Friday. It delves into the complex relationship between British music sensation Oliver (Archie Madekwe) and Matthew (Théodore Pellerin), a seemingly harmless store clerk who transforms into Oliver’s tour videographer. As Matthew gains access to Oliver’s inner circle, their fan-driven connection morphs into an authentic friendship. However, Matthew’s longing to belong escalates into something harmful. Initially, Oliver appears to dominate a group of admirers, but the power dynamics eventually shift.

According to Russell, it’s common for everyone to experience situations where they desire approval from a group or individuals. On one hand, there are instances when we ourselves are striving for acceptance; on the other, there are times when we find ourselves being admired by someone else who seeks our liking.

Growing up with multiple educational experiences, Russell developed an acute awareness of the dynamics among men, noticing the informal guidelines that govern their interactions. He notes, “I observed how groups of boys, be it in high school, a fraternity, or even a basketball team, would gradually form and establish unwritten pecking orders.” The music industry also provided an appropriate backdrop for this observation.

The “Lurker’s” drama, often involving rude behavior, primarily unfolds in Los Angeles, a city teeming with people aspiring to make it in the entertainment industry using various methods. Over the past ten years, Russell resided here and penned his screenplay amidst the peak of the COVID-19 pandemic.

Russell openly admits, ‘I felt a mix of disgust and optimism about being in L.A., realizing I was just one of many striving to succeed.’ He continues, expressing his appreciation for this city, stating that it’s teeming with people who are brave enough to put themselves out there in some form or another, as he believes the movie portrays.

Russell understands personally the sensation of vulnerability while chasing a dream, as his successful television writing career on acclaimed shows such as “Beef” and “The Bear” took flight once he openly expressed his aspirations.

In simpler terms, the speaker finds a sense of freedom in openly expressing his ambition to become a screenwriter, despite it being a common dream in Los Angeles and potentially humiliating if not achieved. Instead, he previously adhered to a skeptical mindset, keeping his aspirations private for fear of embarrassment if they don’t materialize.

As a cinephile hailing from the Windy City, I too share roots similar to Russell, born to an immigrant mother and an American father. My initial academic pursuit veered towards engineering, yet my secret passion for storytelling was simmering beneath the surface. I found myself captivated by the blueprints of comfort films like “Legally Blonde” and “The Devil Wears Prada,” meticulously picking apart their scripts to understand their intricate structures, much like Russell did.

He notes that when learning something independently, it can feel more intuitive because he explains, “Rather than starting with established theories or methods, I’ll use the films I already understand as a foundation and work backwards.

Review

In the sharp ‘Lurker,’ Instagram stalking leads to the inner circle, but how do you keep others out?

As a movie lover, I found myself captivated by Alex Russell’s directorial debut, where Archie Madekwe and Théodore Pellerin dance an intricate dance on the brink of stardom. This fresh yet relatable tale skillfully weaves the complex threads of obsession in a way that keeps you guessing.

Although not directly linked to Hollywood, his aspiration necessitated auditions in New York and Atlanta, along with staying with accommodating friends on numerous occasions. Reflecting humorously yet genuinely, Russell states, “There are so many sofas I owe for enabling me to pursue my current career.

In the earlier challenging phases, I found myself venturing into creating a pilot for the now-defunct Viceland cable network and a brief series for Comedy Central’s YouTube channel. Reflecting back, I can still vividly recall those times, saying to myself, “I was desperately clinging onto any opportunity that came my way.

He secured his initial writers’ room position for the FX comedy “Dave,” a series revolving around rapper Lil Dicky that has a meta aspect, in Los Angeles. Russell attributes his success in landing this job to his connection with the music industry, which he feels gave him an edge over others despite his lack of prior experience.

A significant number of his closest associates are involved in the music industry. Notably, Kenny Beats, who created the tunes for “Lurker”‘s Oliver character, and Zack Fox, a multifaceted individual who portrays an extra in the movie and is also a DJ off-screen. The sequences depicting Oliver’s performances were filmed at actual parties where Fox was spinning tracks as the DJ.

He remarks, “It was purely serendipity,” he states. “I had numerous one-half hour script drafts all centered around the music industry. It turned out to be perfect timing since they were searching for someone with similar expertise, as on a professional level, I hadn’t quite found my niche yet.

“Lurker” would be an experiment — to discover his own storytelling voice.

Am I able to find my unique tone and approach?

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To delve into the story, specifically its shadowy aspects of fixation, Russell drew inspiration from Damien Chazelle’s “Whiplash” and Dan Gilroy’s “Nightcrawler”. Furthermore, “Almost Famous”, Cameron Crowe’s largely autobiographical film about a teen interviewing a rock band, resonated most with his creative approach.

Russell mentions that a young individual is given an opportunity to write a significant Rolling Stone article about one of their favorite bands, and during these moments, it seems as though they are part of the band, which is their ultimate dream. At the conclusion of the movie, there’s an element of uncertainty; whether the entire experience was solely for the purpose of writing the story or if they will have further communication with the band. Interestingly enough, in the actual film, the band does reach out to them again, resulting in a heartwarming ending that differs from Russell’s portrayal.

In “Lurker,” it’s considered the most unfavorable title for someone associated with Oliver, being called a “fanboy.” This term is heavily negative within their circle and implies a significant imbalance of power between the singer and his overly admiring group.

Russell states that, fundamentally, a fan is an outsider. In other words, admitting you’re a fan implies recognizing a division between ‘them’ (those being admired) and ‘us’ (the fans). You observe what you’re a fan of, and they hold your interest. Matthew aims to bridge this divide; he strives to come across as an equal rather than just an observer.

Russell mentioned that other directors didn’t show much interest in directing his screenplay. With support from his producers, this lack of interest, along with their encouragement, ultimately motivated him to take on the director role himself.

He confesses, “I wasn’t exactly clear about the responsibilities that came with it, and initially, I doubted whether I possessed the necessary leadership skills to mobilize a group. Frankly, I never saw myself as someone who could lead.

By understanding the motivations behind his characters, Russell was able to discern if potential collaborators shared his vision for the interpretation of his work. For instance, he found common ground with cinematographer Patrick Scola over their preference for shooting on 16mm film, which they believed would lend a sense of realism to a story set within an artificial realm.

In selecting Pellerin, a Quebecois actor known from “Never Rarely Sometimes Always,” the filmmaker discovered a versatile performer capable of portraying complex motivations rather than just a stereotypical villain. Although Matthew consistently tries to keep Oliver favorable towards him, he harbors a strong desire for validation. Once he experiences the social standing that being near Oliver provides, he becomes unwilling to relinquish it.

In simpler terms, Russell notes that he appears deeply invested in every social encounter, demonstrating a strong desire to act and speak appropriately. There’s an endearing quality about him. We aimed to avoid portraying him as cold or unapproachable from the start, instead creating a character who seems to yearn for acceptance and belonging.

In my perspective as a cinephile, I find the rampant influence of social media culture disquieting, particularly when it comes to the ominous aspects of attention-grabbing cyberbullies. This film serves a purpose; it aims to ignite a sense of embarrassment, albeit with a somber chuckle. Such behavior is not something we should wear as a badge of honor.

Beyond contemporary digital distractions, Russell aimed to critique the minor jealousies prevalent among men – a topic he believes is still considered off-limits. “There are plenty of films that portray female jealousy, but there’s a scarcity of those focusing on male jealousy,” he points out.

At the conclusion of “Lurker,” an unexpected interaction between Oliver and Matthew serves to highlight the intricacy of their misunderstanding – a sensitive equilibrium that underscores Russell’s skill in unearthing freshness from circumstances that might otherwise have followed a predictable course.

In that instance, the filmmaker remarks, “The atmosphere becomes increasingly charged, leading either to a climactic sexual or violent resolution.” However, he adds, “What audiences anticipate is actually a surprising third option, which leaves them in awe because it catches them off guard.

But regardless of where a viewer is coming from, “Lurker” taps into something utterly relatable.

Russell notes that many individuals turn to movies since they often feel like they don’t belong. He explains that everyone experiences a sense of being an outsider and an insider, and these roles aren’t always clear-cut. This movie aims to explore such complexities. The status of being an outsider or an insider can change, much like the pull of gravity isn’t constant.

Once considered more of an outsider, but now having garnered an Emmy for his work on “Beef,” Russell has formed a tight-knit group with his peers. One such peer is James Sweeney, another queer director. The two have grown quite close. Sweeney’s movie “Twinless,” set to release on September 5th, explores the complicated bond between two young men that’s put to the test by a hidden secret. Interestingly, both Russell’s film “Lurker” and Sweeney’s “Twinless” were debuted at the Sundance Film Festival in January. Russell finds it amusing to notice the shared themes between their movies.

Russell notes that in such a city, there’s a strong desire for connection and belonging among its residents. Interestingly, Los Angeles residents often create their own social circles. If you establish your own group, you have the power to select who’s included.

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2025-08-21 19:02