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

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Lurker” is an outstanding drama-comedy that emphasizes there’s more intrigue in the circle of a laid-back hipster than a monarch. While royal courtiers rely on well-established customs like curtsies and titles, the etiquette surrounding British-born, L.A.-based emo-pop musician Oliver (Archie Madekwe) is unclear and tense. As an impulsive, youthful charmer gaining traction from Instagram fame to mainstream stardom, Oliver isn’t incredibly wealthy or globally recognized (yet), but he already has friends who function as both companions and employees, fiercely protecting his domain and their access to it. Oliver lives by vibes, man, and these ones are ruthless.

In this movie directed by newcomer Alex Russell, we are introduced to Matthew (played by Théodore Pellerin), a clerk at a streetwear store on Melrose, who is fanatical about the musician Oliver. However, to avoid being labeled a typical fan, he cleverly disguises his admiration. When he manages to score a backstage pass, Matthew meets Oliver’s friends Swett and Bowen (portrayed by Zack Fox and Wale Onayemi), who subject him to a humiliating initiation ritual in the green room, asking him to lower his pants as a tribute to their deceased friend. Despite being intimidated, Matthew successfully completes this task, indicating that more trials lie ahead for him.

Russell honed his skills as a writer and producer on “The Bear” and “Beef,” crafting grim comedies that feature sharp, witty jokes that leave you gasping for breath. Initially starting out as Oliver’s informal dishwasher, Matthew swiftly climbs up the ranks to become Oliver’s unofficial documentary director. However, his rapid advancement does not sit well with Oliver’s more formally appointed music video director, Noah (Daniel Zolghadri), who tries to dismiss Matthew with a subtle rebuke, such as “We value your assistance, however…”, followed by a condescending remark referring to him as his “assistant chef.

In the narrative, when Matthew’s friend Jamie (Sunny Suljic) manages to secure his own party invitation, anyone who attempts to get close to Oliver will aggressively go after their competitors. The term “Lurker” is too inactive for this story about competition; a more fitting description could be either “Clinger” or “Leecher”.

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In a cheerful, laid-back manner, Oliver adorns a trucker cap atop a babushka over bleached pink hair. Costumer Megan Gray dresses the towering 6’5″ Madekwe in loose sweaters that accentuate his eagerness to welcome people with long, warm hugs. Fickle and captivating, Oliver hums about his circle being “one big harmonious family,” using feigned cluelessness as a shield from appearing villainous. Instead, this role often falls on others, particularly the perceptive and fatigued Shai (Havana Rose Liu), who could be considered Oliver’s manager if there were any official job titles.

In “Saltburn,” Madekwe portrayed a crueler gatekeeper character as Jacob Elordi’s snotty American cousin, yet maintained control over all the keys. When Madekwe turned off his character’s warmth in certain scenes, the movie became noticeably colder, and his fake cheerfulness felt more intense. On the other hand, Pellerin’s nervous smiles and forced laughter showed the hard work required to appear carefree. At his most relaxed, he resembled an Oliver-like character.

Lurker” subtly exudes a casual menace as Russell insidiously approaches his targets before striking. He provocatively probes our squirm-inducing sympathy for Matthew and, furthermore, the vulnerability of contemporary celebrity culture and its superficial motivational slogans. In a comical scene, one of Matthew’s ardent followers halts him on the street to enthuse, “I aspire to be like you – but what is your secret?

Russell seems to be pondering over what distinguishes a genuine artist from a fraudulent one. If ‘Lurker’ had been produced earlier, it would have helped define the border of authenticity: Is Oliver genuinely emotional in his songs? However, today, that question seems outdated. We now understand the need for artists to establish their brand, even if this brand is just an act of disregarding their public image.

In the current stage of his career, Oliver often presents himself as cheerful, lo-fi, and unpredictable. He enjoys sharing videos of himself such as falling off his bike into a bin, playing on the beach, dancing around with a vintage camera tied to a sheep in a field. Regarding the farm footage, he says, “Is it just me or is this amazing?” However, I must be honest when I say that, unfortunately, it’s not great.

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As a devotee, I must admit that Oliver’s charm can be deceivingly captivating, almost trapping me in a bubble of yes-men, limiting my potential growth. The film, with its heavy emphasis on visuals over substance, often falls short in delving into the driving forces behind Oliver as an artist. In the performances, Madekwe impressively croons with a flexible lilt that suggests authenticity, but sadly, there’s a lack of exploration into his actual music. It seems Russell is more comfortable critiquing the essence of a well-made steak sandwich than a soulful song.

My take on the melodies is that Kenny Beats (responsible for all of them and also the captivatingly tense electronic soundtrack) has primarily composed them to be fairly good but not exceptionally explosive. The journey a singer takes to reach such high quality is as enigmatic as attempting to explain what ‘cool’ truly means. It isn’t until near the end of the movie that Russell poses the intriguing query we, too, have neglected to ask: Is it important whether Oliver possesses genuine talent?

Although “Lurker” delves deeply into its characters’ psychology, it only offers a small piece of their past. For instance, we learn that Matthew resides with his grandmother, but we’re not told why or even given her name. This minimalist approach imparts an intense realism to the film, similar to a nature documentary focusing on a shark and its remoras. Filmmaker Russell encourages viewers to form their own interpretations regarding what motivates Matthew and Oliver’s craving for applause, and whether their interdependent relationship mirrors patterns found across the entire music industry.

Twice, Russell plays the R&B song “I’m Your Puppet,” but I find that one time is already too much for my preference since we’re already trying to figure out who has control. At times, I wish Russell would take things a bit more seriously rather than being so casual. He’s great at catching small details like subtle glances and awkward smiles, but it becomes confusing when he hastily edits or uses cryptic dialogue to hide important plot points. This sequence is crucial in the script, yet we can’t seem to understand whether it’s due to bad luck or a complex strategy. The difference between the two makes a significant impact.

Indeed, Russell’s narrative skillfully entangles us in the story of a lowly pawn aiming to outmaneuver a king. We empathize with them both and appreciate their struggle. Furthermore, it makes sense now why fortresses are surrounded by water barriers (moats).

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2025-08-20 21:01