After the Hunt review: Julia Roberts academia drama doesn’t make the grade

Initially, she and her husband Fredrik (Michael Stuhlbarg) are entertaining guests with drinks. Maggie, who is in a same-sex relationship, leaves the party with Hank. However, she soon returns to Alma’s doorstep, visibly upset. She confesses that during their departure, Hank had more than just a drink with her; they kissed, but it escalated beyond what she was comfortable with. “He violated me,” she claims. But did he really?

When Alma encounters Hank, he assertively states that the entire situation originates from a revelation he uncovered about Maggie – her dissertation was plagiarized. Given that her parents are significant benefactors to the university and she hails from an affluent and privileged background, Maggie is accustomed to entitlement. Moreover, being Black further complicates the situation, as she navigates through a world predominantly controlled by heterosexual white men.

In the heat of the situation, Maggie chooses to file complaints against Hank. Alma, conscious of her own vulnerability, prefers to keep a safe distance. The script is penned by actress Nora Garrett, marking her first foray into screenwriting. What ensues is a struggle of strength and determination. With an ongoing illness that makes her sick, Alma’s mental state deteriorates as the tension between her and Maggie intensifies and takes on a darker, more toxic form.

Portraying here is Luca Guadagnino, the Italian cinematic artist known for creating the heartwarmingly delightful Call Me by Your Name (featuring Stuhlbarg) and Challengers. However, After the Hunt appears to be a film that seems to have lost its direction for Guadagnino, with characters frequently engaged in dense academic discussions about morality and ethics that may prove challenging for many viewers to comprehend, unless you hold a background in philosophy.

The movie begins similarly to a Woody Allen film, featuring a jazzy score, titles displayed in black and white, and a cast list arranged alphabetically – a style Allen used frequently throughout his career. This opening sequence may serve as a tribute to Allen or a discreet reference to the challenges he’s faced later in life, according to Guadagnino. It seems it could be a combination of both homage and subtle allusion.

The director doesn’t just draw inspiration from other superior works once; for instance, Todd Field’s film Tár, which deals with cancel culture in the secluded realm of classical music, offers a more intricate exploration of the topic. Additionally, Justine Triet’s Anatomy of a Fall, known for its jarring use of loud music disrupting conversations, is referenced subtly, particularly during an uncomfortable dinner scene involving Maggie, Fredrik, and Alma.

With a grumbly soundtrack by the typically accurate Trent Reznor and Atticus Ross, at least Julia Roberts delivers a spirited performance in this film that aspires to be a watercooler conversation starter. Roberts seems to enjoy carrying such a contender for heated discussions, and there’s a certain satisfaction in observing her character’s slow unraveling (including her alarming treatment of Maggie’s non-binary partner). However, this movie is not an easy watch, possibly due to its depiction of “privileged, pampered hypocrites”, as one might put it. Nevertheless, as a portrayal set on the battlefield of ‘wokeness’, it certainly stirs up quite a commotion.