‘After the Hunt’ Tackles Woke Culture Head On
Better late than never?
The same Hollywood that bowed to the woke mind virus is finally confronting it on screen, albeit in halting fashion. Think “Dream Scenario” (2023), “Tar” (2022) and, now, “After the Hunt.”
The previous films nibbled around woke’s toxic edges. “After the Hunt” goes for the jugular, but director Luca Guadagnino isn’t sure what he wants to say about it.
He’s fashioned an intriguing op-ed about ego, academia and privilege, both the white variety and less acknowledged models. It’s dull before it grabs us by the collar, but even an unexpected coda feels too conflicted to land a cultural haymaker.
Julia Roberts shines as Alma, a Yale professor who seemingly has it all – a handsome husband (Michael Stuhlbarg), a devoted fellow professor (Andrew Garfield as Hank) and a rising star who sees her as a mentor.
That’s Maggie (Ayo Edebiri), a lesbian PhD student who accuses Hank of sexually assaulting her after leaving Alma’s house party one night.
Is Hank guilty? Will he get a fair chance to defend himself? Should Alma stand by Maggie through a very public accusation, one that rocks Yale’s storied traditions?
The plot suggests a juicy, eight-part Netflix series, but Guadagnino and screenwriter Nora Garrett immerse us in academic culture before any questions can be answered. Early scenes are laborious in nature, letting us observe upper-middle-class life in all its insufferable glory.
It’s a chore to connect with anyone on screen.
Maggie’s social justice warrior pose feels off-putting yet accurate. And what if she’s telling the truth about Hank? Why won’t Alma rush to her side, rather than navigate a system where justice isn’t the prime directive?
“After the Hunt” offers a slow-burn approach to the culture wars, and Roberts is the perfect vehicle from which to observe the muted fireworks. Alma wants to do the right thing, but she craves tenure more than she cares to admit.
View this post on Instagram
Garrett’s screenplay touches on privilege, pronouns and other woke flourishes. At times, those elements plug effortlessly into the story. A few scenes feel stripped from a college paper on restorative justice.
Late in the film, we hear a news snippet tied to DEI’s recent decline. No filmmaker of Guadagnino’s status should lean on such narrative gimmicks.
One sequence mimics “Tar’s” viral clip, where Cate Blanchett’s character excoriates a woke student. Roberts handles the moment beautifully, with Guadagnino’s camera capturing both Alma’s rage and the reaction from her startled students.
The Alma/Hank dynamic reminds of how good Garfield can be when handed challenging material. Their bond gives the third act its undeniable firepower, and the actors brilliantly work through an encounter that could have descended into parody.
The film’s discordant score, courtesy of Trent Reznor and Atticus Ross, veers from a relentless ticking clock to more conventional notes. We’re uncomfortable from start to finish, an appropriate match for the material.
If “After the Hunt” is the director’s attempt to address the culture wars, it’s not always clear what he wants to say. One undeniable message? Get uncomfortable. That’s where growth happens, be it in a classroom or elsewhere.
It’s why “After the Hunt,” as messy as it may be, is the kind of thought-provoking tale we need.
HiT or Miss: “After the Hunt” features a bravura performance by Julia Roberts and mixed messaging about the dying woke revolution.
The post ‘After the Hunt’ Tackles Woke Culture Head On appeared first on Hollywood in Toto.
