When I first started watching Alex Russell‘s feature film debut, Lurker, I was worried it would just be another movie that follows the typical narrative beats of an erotic thriller centered on a person’s undying obsession. But, I was shocked (complimentary) to discover that what Russell was crafting something so harrowing and jaw-dropping that I shed a tear after watching that final scene. Lurker is a terrifying portrait of obsession in the digital age and how someone responds to that very obsession.
Théodore Pellerin plays Matthew, a retail worker who lives with his dad and searches for a larger purpose. One day, up-and-coming musician Oliver (Archie Madekwe) walks into the store and takes an interest in Matthew. He invites Matthew to come hang out, and Matthew snatches that opportunity as quickly as he can, without looking uncool because, importantly, he hasn’t let on that he’s a massive fan of Oliver.
Once Matthew walks through those magical doors, he feels like he’s finally “in” with the crowd. While Oliver tells him that he’ll be working on a documentary about Oliver, once Matthew meets the rest of the musicians’ entourage, Russell begins to reveal how Oliver interacts with the world. He collects people like Matthew, who are obsessed with him, and he charms them into becoming part of his cult-like group. So, Matthew continues to try and worm his way into the group’s good favor (importantly, he’s the only white man amongst a group of Black men and women of color) by doing the dirty work. He cleans up after parties, makes beds, and generally does whatever he can to just keep coming around.
Also Read: ‘Went Up the Hill’ Review: A Remarkable, Tragic Ghost Story
The longer Matthew hangs around, the stronger his obsession becomes and the more delusional he seems to be. The stakes only grow, and everything snaps, but not even remotely in a way you’d expect. That’s what makes Lurker so special. Russell takes these expected tropes of the erotic, obsessive thriller and crafts something much more complex, examining not only the person perceived as the villain, but casting shadows upon their target. There’s nothing easy about Lurker, which makes it feel more refreshing than the typical Good Versus Evil story.
Russell’s script is also smart in how economical it is. The script is rather contained for a story about a musician, which means that a lot of little details and stories are referenced quickly in dialogue. That doesn’t mean that things are left out, but rather that Russell creates a much larger and more complex tapestry of interpersonal relationships that doesn’t necessarily unfold on screen. It makes this world feel lived in and like these characters exist outside of the script. It also casts a much more sinister shadow across Matty and Oliver’s relationship, as we can never quite tell who has the upper hand or who is telling the truth.
Also Read: ‘Transcending Dimensions’ Review: A Dazzling Convergence Of Genres [FrightFest 2025]
But none of that would be so successful without a killer core cast, especially Pellerin and Madekwe, who circle each other like two lions unsure if they want to fight or cuddle. While Lurker isn’t explicitly queer, there’s still an undercurrent of desperate romance (platonic or romantic, that’s up to you) that is drenched in insecurity. Pellerin embodies Matty with a shocking amount of empathy, as if you want to feel for this gangly loner. He’s sweet yet unnerving, seemingly soft and naive but bubbling with nefarious intentions as we see the world through his eyes. As the movie progresses, Pellerin leans into Matty’s own spiral with haunting facial expressions and smiles that send shivers down your spine.
Meanwhile, Madekwe plays Oliver with so much swagger, you’d think Madekwe was an indie singer himself. His coy smile and soft expressions seduce everyone around him. He knows how to make people compete for his love and attention, and yet he’s also so scared. Madekwe balances that vulnerability beautifully, which makes his dynamic with Pellerin all the more alluring and terrifying.
Also Read: ‘Saint Clare’ Review: A Feral Shriek In The Face of Patriarchy
Speaking of the music, the songs composed for the film capture that type of catchy, sad alt-pop that so many of us crave nowadays (or maybe that’s just me). Songs aside, the use of music throughout Lurker crafts these beautifully cinematic, emotional moments that suddenly cut to silence as Matthew snaps back to reality. It’s a simple yet incredibly effective technique to create a constant unease in the viewer.
Lurker is extremely uncomfortable, the kind of movie I crave when I want to squirm in my seat. But it’s uncomfortable because of the inherent honesty here. This isn’t your typical story of a stalker, but a much more nuanced glimpse into what obsession looks like in the digital age. Russell dares to ask the question, “What if you like being stalked?” and the implications of such a toxic dynamic.
https://ift.tt/g9Libcr https://ift.tt/nA3Hp1i
No comments:
Post a Comment