革新的なルカ・グァダニーノ監督が贈る衝撃の心理ドラマ。優秀な学生が同僚を告発したことをきっかけに、ある大学教授が人生とキャリアの岐路に立たされる。そして彼女自身の過去に隠された暗い秘密が、明るみに出ようとしていた。
製作費: $20,000,000 (30億円)
興行収入: $9,426,825 (14億円)
推定収支: $-10,573,175 (-16億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ルカ・グァダニーノ
脚本: ノラ・ギャレット
制作: ブライアン・グレイザー / Allan Mandelbaum / Karen Lunder
撮影監督: マリク・ハッサン・サイード
制作会社: Frenesy Film / Imagine Entertainment / Big Indie Pictures / Amazon MGM Studios
Set amidst the intellectually rarefied environment of some university philosophers, I thought this might have had some similarities to “Tár” (2023) when a student makes an unsubstantiated accusation against one of her teachers and, well you know what they say about mud sticking. Sadly not, though, as this seems intent on avoiding dealing in any depth with any of the potentially interesting points that it raises. Acclaimed professor “Alma” (Julia Roberts) is seeking tenure, has an unique sort of marriage with psychiatrist “Frederik” (Michael Stuhlbarg) and has a very tactile rapport with provocative fellow teacher “Hank” (Andrew Garfield). She also has a student called “Maggie” (Ayo Edebiri). Now this lass comes from very wealthy stock, is living with her lesbian law student girlfriend “Alex” (Lio Mehiel) and it is her who makes an accusation that sees “Hank” well and truly kicked into touch. Naturally, she turns to “Alma” for emotional support but that woman is conflicted. She knows that “Hank” isn’t perfect, but could he really be guilty? She also believes that “Maggie” has a bit of a crush on her. Might this be a way of attracting attention? Coming from such a propseprous background, has “Maggie” just suffered from years of ermine-coated neglect? All of those questions are legitimately presented here but if you’re looking for answers, then this simply doesn’t deliver. Indeed the ponderous route to what passes for it’s denouement, for me at any rate, was entirely unsatisfactory and possibly even cavalier with the lives being impacted and trashed by the power of one indictment and the concomitant gossip and rumour-mongering. In fact, that fundamental question of guilt or innocence is swiftly and fairly completely swept under a convenient rug in order to focus on a storyline that thereafter I found irresponsibly uninteresting and unremarkably delivered by both Roberts and Edebiri. An anxiety-ridden cry for help or attention or is it something wholly one-sidedly incomplete? My vote is for the latter. It does take a pop at the superciliousness of the chattering classes, but it doesn’t do much for role of justice much.
In a movie with a title like “After the Hunt,” one would assume that the characters are indeed hunting for something, either literally or metaphorically. However, after watching this latest offering from filmmaker Luca Guadagnino, as near as I could tell, that missing element would most likely be the plot. Given the overwritten, overintellectualized, unfocused nature of its narrative, with its many meandering, disjointed story threads, it’s hard to say exactly what the director and screenwriter Nora Garrett were going for here. The story essentially centers around Yale University philosophy professor Alma Imhoff (Julia Roberts), an acclaimed voice in her field and eager tenure candidate who learns about an alleged sexual misconduct accusation leveled by one of her top grad students, Maggie (Ayo Edibiri), against one of her closest longtime professional colleagues, Hank (Andrew Garfield). She’s consequently caught in the middle, a scenario that seriously tests her loyalties, not to mention the impact that her “involvement” might have on her chances of securing tenure. But, in the process of trying to sort out her feelings on these matters, Alma also comes face to face with aspects of her own character that she has long buried, revelations that expose her own contemptible nature, a trait that has been carefully concealed but turns out to be on par with that of both Maggie and Hank. Add to that story threads involving a mysterious health issue, a dark secret from her past, and Alma’s constantly shifting relationship with her husband, Frederik (Michael Stuhlbarg), an demonstrably (and inexplicably) flamboyant therapist, and you’ve got a boatload of content packed into a picture in need of direction. And, because the story is set in the philosophy department of an academic environment, the film incorporates plenty of lengthy scholarly discussions (many of them decidedly belabored) that, frankly, amount to little more than high-minded intellectual masturbation. Admittedly, several of the intergenerational exchanges are scathingly witty and spot on in their critical poignancy, but they’re too few and far between compared to the many other overwrought dialogues that dominate a screenplay that clearly takes itself too seriously. To its credit, the film’s fine performances (especially Garfield and Edibiri) are its strongest suit, though Roberts’s glowingly praised lead portrayal is, in my opinion, somewhat overrated compared to some of her past performances. What’s more, this release is occasionally hampered by some odd camera work and an original score and soundtrack that often intrude too much on certain scenes, drawing more attention to the music than to the action it’s supposed to be supporting. Overall, “After the Hunt” feels like a knock-off of one of Woody Allen’s dramatic productions (right down to copying the signature credits style used in that filmmaker’s movies) though without the same level of eloquence and relevance present in those films. In the interest of full disclosure, I must confess that Guadagnino is not one of my favorite filmmakers, but, in the case of this pretentious cinematic mess with its wholly unlikable characters, I believe he’s reached a low point in his filmography. So, with that said, do yourself a favor and hunt for something better to watch instead.
