The use of ambiguity in art can improve the story, especially one told in the genre, as it makes the drama feel much more realistic, or at least possible. This is because the ambiguity in real life is much less attractive. The unclear nature of the conspiracy or characters in film can lead to sunbathing for various theories and interpretations. But ambiguity in real life often leads to frustration, if not anxiety or fear, because the stakes are real.

In his latest movie "After Hunt", director Luke Guadanino does something that feels a novel, if not important. He loads the film with ambiguity, soaking every scene in it. However, this is not an experimental or surrealist film on David Lynch's lines, nor is it a horror film by Ozgud Perkins, where ambiguity hovering over the procedure as a magic magic. Instead, the ambiguity of "after hunting" feels like a wooden splinter deleted somewhere under your skin, where the pain hurts throughout the whole period, but can never be emphasized or extracted. It makes a movie experience that is not immediately satisfying, even for those of us frauds that love barbed satire and messy social plays.

Key, however, "after hunting" is as attractive as it is uncomfortable, and its realized acting ensemble ensures that I never wanted to look aside. "After the hunt" is a film that emphasizes does not respond to a myriad of problems that raise them. However, it feels like Guadanino puts as much material in front of us as we need to go on our own hunt for meaning and truth. It is this experimental element that prevents the film from being confused DAD.

On paper, "after hunting" sounds like a social thriller in the 1990s - as "assumed innocent" or "disclosure". However, Guadanjo's film is not a genre film; Never escalates to the point of enhanced eroticism or violence. Instead, the director keeps the film put on a steadfast kellen, which is somehow more exciting than if things came out of the deep end. Posted in Yale During the unspecified point in the last 15 years, the film refers to a pair of philosophy professors, Alma Olson (Iaulia Roberts) and Hank Gibson (Andrew Garfield), who have been very close friends for years and both come to term. Each of them has its own pet student in a mentor; Alma is Maggie (Ayo EDebiri), a young, federal black woman. One night, Alma and her husband psychiatrist, Frederick (Michael Stullbar), host Hank and the choice of their favorite students for fun filled with alcohol and spiritual debate. After the party, Hank offers to take Maggie at home, which she accepts. The next day, Maggie does not appear at any classes, and is not late that night when she appears in the Alma building and tells her mentor and friend that Hank has sexually assaulted her the night before.

Hence, "after hunting" appears as if he could turn into he said/she said he canceled the drama of culture, the one in which the events of this fateful night will be steamed and argued until the truth comes out. Guadanino is certainly looking forward to provoking in this direction; Loans to open and close the film are made in the correct film style of the films of much canceled Woody Allen. In fact, the theme of the film not only remembers Allen's personal life, but his films, specifically his plays such as "Crimes and Misdemeanors" and "Point for a Match". However, this turns out to be another layer of fraud by filmmakers, because Guadanjino does not use Allen as a creative influence, but an agitation. Screenwriter Nora Garrett is on board with Luke's game; In one scene, Chloe Sevigni's university therapist opposes Smiths at College Bar, while expressing the surprise they play. Is it happy that young people hear a band that grew up, or is it pleasantly surprised to be cool by playing a song from the canceled Morries? For these and numerous other provocative topics raised during the film, Garrett and Guadanjo do not make a direct comment, to convey the line in a way that can be too lazy, cowardly or non -fulfillment.

"After the hunt" is an awkward film that does not allow things to get away with wide strokes. Fortunately, the cast of the ensemble is more than the task. Each of them weaves an enigmatic network: Studbarg's husband could be a treadmill in smaller hands, but the actor gives air to a mystery that implies a lot about the marriage of Frederick and Alma. Garfield refuses to allow Hank to become a cliché (as the character is afraid), giving the man a surprising shape and depth. However, the highest plays belong to Eden and Roberts. Edebiri is quietly transformative in its role, twisting its natural comics instincts into something idiosynecratively and cryptic. Another of the film's provocations is how Maggie is the source and the center of most of her drama, but it is still the person we get to know the least. Some of the discoveries for her character would be a smoking gun in another movie, and another actor would profit. Instead, edges are the Oroboros of intention, no sacrifice, no manipulator, but a draw between them.

Roberts is nothing less than thrilling. Her performance as Alma is so natural and confident that it feels like a kind of character that she plays her entire career. It is certainly intentional to arm the personality on the Roberts screen against it (and us), but again, this is not a film of distorted perception. Instead, it is a movie about how uncertain perception is, especially people continue to move their goals and bend the rules of morality and ethics without anything as it is as an announcement. Guadanino is not the type of author using the same stylish tics in every movieThat is why the "hunt" feels 180 degrees from The kinetic satire of "triggers". Instead, director and cinematographer Malik Hassan Side teases and provokes the audience by mixing more traditional compositions (in this very dialogue film) with alternating footage of POV insertion. They use the cinema grammar against us - do we see Alma's hands or Hank's eyes while talking because they tell us a secret? Or maybe Guadanjino and Said use this grammar to help us, which means the film can really be decoded in fashion in parallel with Guadanjino's "Superzy" And "Queer?" To appreciate the best "hunting" is to accept the title of the title for a post-incident period, hearing "What now?" The moment after the dust calms down. In the film, as in life, there are no easy answers, and while that means the film is not completely satisfying, it is also a mystery that I can't easily leave.

/Movie rating: 6.5 out of 10

"After the hunt" opens in theaters on October 10, 2025.