After the Hunt Is a Pretentious Bore That Squanders Julia Roberts’ Spark

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In a movie like After the Hunt, directed by Luca Guadagnino, academics are portrayed as individuals attending parties to engage in deep, philosophical discussions, often referencing figures such as Hegel, Kant, and Nietzsche. The film premiered at the Venice Film Festival and features a lot of intellectual dialogue during social gatherings, which may seem excessive to some viewers. You might even think that these characters cannot maintain this level of conversation throughout the entire movie, focusing on topics like free will, morality, and society structures. However, it’s worth noting that most characters in After the Hunt are philosophy scholars, so their intellectualism is expected, albeit with a touch of pretentiousness. The filmmakers might be aiming to create an allure around these sophisticated, chatty individuals that you would like to mingle with in real life. But until then, I’d rather complete some chores at home first!

Post-Hunt: A Bizarre Serious Comedy

This narrative is a blend of the grave and absurd, set in a universe where individuals perform inexplicable acts without any logical explanation, expecting us to tag along, shrug our shoulders, and think, “As expected!”. The story revolves around Alma Imhoff (played by Roberts), a reserved and mysterious Yale philosophy professor who seems to be the department’s most popular figure. Her husband, Frederik (Michael Stuhlbarg), is a psychologist who spends most of his time in their expansive, comfortable-luxurious home listening to complex music, preparing hearty cassoulet, and making clever remarks.

However, it’s evident that at least two other individuals harbor feelings for Alma. She maintains a close friendship with a younger colleague, Hank (played by Andrew Garfield), with whom she shares a playful bond, though it appears their relationship remains platonic. Additionally, one of her star graduate students is infatuated with her to the extent that even Frederik remarks on it with frustration.

Maggie (Ayo Edebiri), who is often described as brilliant, seems more like a wealthy individual due to her parents’ substantial donation to the university. Her sexuality, though inconsequential, is frequently mentioned by those around her. During a party, Maggie claims to use the bathroom but instead investigates every cabinet, even an unassuming one filled with toilet paper. In this cabinet, she discovers an envelope containing secrets about Alma’s past that she wishes to keep hidden.

Even at this stage in the story, there are hints of Maggie’s unreliability, though we are encouraged to maintain a degree of skepticism towards her throughout the movie.

The following day, Maggie, visibly upset with trembling emotions and difficulty speaking, returns to Alma’s home. She shares that the previous night had been tragic as Hank, who had been complimenting her throughout the party, led her home in his intoxication, entered her humble apartment when her partner wasn’t present, and committed an act of sexual assault against her. Maggie pleads with Alma to maintain this incident confidential but insists forcefully on her support rather than asking for it. Although Alma wishes to be a supportive friend to the student she admires, she is hesitant, causing Maggie to feel frustrated.

The following sequence of events, while convoluted and not overly exciting, begins to unfold here. Maggie’s true nature is uncertain – perhaps she’s hiding something, considering her secretive exploration in a toilet paper storage area earlier. It transpires that Hank, portrayed by an exceptional actor known for his charming characters, harbors an unfriendly and aggressive side. Although Garfield convincingly embodies this role, it appears to have been crafted specifically to advance the plot rather than resemble a genuine human character. Alma finds herself in a dilemma, torn between trusting the account of a student she values and remaining loyal to Hank. Her recurring, enigmatic abdominal pains don’t make things easier – she must discreetly take pills from various hidden bottles scattered around.

1. Young people today are excessively focused on their identity and labels. They desire a world with all harsh edges softened.
2. There’s a question about whether we should always believe women when they speak the truth, yet there’s doubt about one specific woman in this context.
3. Men, particularly white men, hold significant power and can lie. This raises questions about how to overcome their dominance, especially within academia.
4. The music by Trent Reznor and Atticus Ross serves to keep viewers alert with discordant woodwinds and sharp piano chords, mimicking the feel of jagged Plexiglass shards.
5. It’s essential to remember that “After the Hunt” is not just a movie but art.

In essence, this film delves into intricate themes while using its music to keep viewers engaged and thoughtful about contemporary issues.

In a manner captured by Malik Hassan Sayeed, this production exudes an air of sophistication reminiscent of Ivy League institutions. However, Julia Roberts, who is often lively at the minimum, appears imprisoned and continuously anguished: one moment she’s gripping her abdomen, the next she’s puzzled, scrutinizing the intentions of those around her. This performance might be considered a demanding role, but it lacks depth or substance. It seems unusual to assign Julia Roberts a role that seemingly leaches vitality from her. Her interactions with Edebiri are particularly dull and convoluted. Edebiri, too, appears devoid of energy. Her character stutters and pleads, whines and intimidates, but fails to convey any genuine sense of self or emotions, except for a brief conclusion that provides an explanation. The intricacies of her character are rich, with the potential for engaging conflicts: she is privileged, gay, and Black, and could manipulate these factors if desired. These complexities, unfortunately, are explored haphazardly. There’s also a confusing scene featuring Stuhlbarg as Frederik, where he angrily enters and exits the kitchen while blaring music incessantly, making it difficult for Alma and Maggie-a guest that night-to carry on a meaningful conversation.

In simpler terms, Guadagnino’s film, “After the Hunt,” appears to convey a message, but its meaning remains elusive. Unlike his other striking films such as “I Am Love” and “Queer,” this one seems more like an artistic exploration rather than a source of intellectual enjoyment. Chloë Sevigny, portraying Kim, a psychotherapist in the Yale Philosophy Department, gives the film its most compelling moment when she discusses the playing of a Morrissey song with Alma at a college bar. Despite their initial misunderstanding about whether it’s a Morrissey or Smiths track, Sevigny’s response suggests that sometimes, a song is just a song, regardless of its artist or any underlying issues it may represent. This passage does not necessarily aim to teach lessons on semantics, cultural sensitivity, or gender dynamics; instead, it presents a casual conversation about music.

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2025-08-30 00:06