Avaliações de usuários

I believe the music in a film should support the scenes. In this film the music is the most annoying part and over stems the dialogue. I have never been so annoyed about supporting music. The music and at time piano jangling is non functional and too loud and distracting. It is a shame and contributed greatly to my low score.

I was drawn to After The Hunt because of Luca Guadagnino and the stellar cast, but once the first Woody Allen-esque scene is done, the film takes an extremely slow and uninteresting pace that makes the dialogue and characters somewhat infuriating to understand or even care about throughout the film. If it had been a faster pace, tighter script, and focused on the core story, it could've been an enjoyable watch. The acting is still really solid and the shots are beautiful with a score that is tantalizing, as always in Luca's films.

To get through this movie, but I did.

You keep waiting for the pace to pick up and bring the story forward, but it never happens.

You keep wishing is there something behind door number 2,3 and 4. There is not The acting is superb. Julia Roberts is very good.

If you have absolutely nothing else to watch, turn off the tv and do something else.

Guadagnino is holding a kind of mirror up to our society, hysterically busy with political and moral correctness, and its reflection shows a deeply distorting image. The feeling that something is wrong right from the start finds it's perfect expression in Alma's heavy pain attacks, well played by Julia Roberts. And yes, it's not supposed to make us feel more comfortable than her. There's no one to route for, not a single character showing integrity, ( maybe with the exception of Michael Stuhlbarg as Alma's husband), a lot of moral hypocrisy, cynicism, egocentric, manipulative behaviour all over the place, and we, the audience, is being left disoriented, not knowing if the scandal everyone is so obsessed with has really happened or not. It's not shown to us, which I think is a genius trick.

You are forced to make up your own mind, exhausting for some of course.

Guadagnino refuses to give simple answers to the complicated experimental setup he is questioning here from different angles. In addition to that you'll even find a dark comedy about unfulfilled desires underneath.

The result seems to upset many people, i on the contrary was grateful to find a lot of inspiring and controversial topics to think about in the screenplay and Guadagnino's efficient direction.

Alma - "Not everything is supposed to be comfortable."

From my perspective, only someone like Luca Guadagnino could offer streams of circuitous talk about existential ethics and morality hinged on gender and generation and make it interesting. Nonetheless, I believe that almost everyone will take away something different from this film based on their demographic. Just my opinion.

The four leads turned in excellent performances - Julia Roberts portrays an outwardly self-assured Yale philosophy professor (Alma), Michael Stuhlbarg is Alma's mercurial psychiatrist husband (my favorite character), Alma's pivotal PhD candidate protégée is played by Ayo Edebiri, and Alma's "good friend" and colleague professor Hank was portrayed by Andrew Garfield and was perfect for that role.

The overlay throughout the script - the storylines and the character arcs - is evolving ambiguity based on heightened POVs that inspire the conflicting "truths" key to the story. At the post-screening talk-back with Garrett and the lead cast, Guadagnino alluded to the inevitable mixed takeaways as the lead characters are "highly flawed" and function in the context of an insular ivy league paradigm of intellectual selectiveness and uber cultural sensitivity. I loved Stuhlbarg's description of the film - "a slow-motion train wreck."

The DP provided a predominantly dark visual palette that amplified the psychological suspense. The score was composed by Trent Reznor and Atticus Ross, known for their haunting and atmospheric soundscapes.

My final thought - Stuhlbarg's role and his relationship to music - amusing and quite memorable.

This drama starts with an annoying, persistent ticking clock, which when it finally stops, we are so grateful. But then it returns later and periodically throughout this rather pathetic drama. I have to say that the story is poorly constructed, and a bit hackneyed. The performances are a bit clichéic times. So I'm sorry that the ebbing talent Julia Roberts is wasted in this film.. it was indeed difficult to watch and disappointing.

This is not a bad film, but it is definitely not for everyone. I like Julia Roberts and as usual she gives a good performance. The film itself seems to want to support the premise of the "Me Too Movement". If I were to criticize any aspect of this, I'm sure this review would be waterlogged with numerous negative attacks. Not that I am rejecting the movement, but there are always two sides to.the coin. The idea that one is presumed innocent until proven guilty does not seem to hold up now a days. Regardless, maybe this movie is a bit outdated or too little too late..Some good acting by all, a few nice twists and entertaining enough, but not really outstanding.

Director Luca Guadagnino seemingly enjoys making uncomfortable movies, such as BONES AND ALL, CALL ME BY YOUR NAME, and CHALLENGERS. His latest movie takes the cake. AFTER THE HUNT is a psychological drama about four individuals who have their perfectly curated worlds shattered when one of them makes an accusation of sexual misconduct on another. Alma (Julia Roberts) is a well-respected philosophy professor at Yale University. Frederick (Michael Stuhlbarg) is her psychiatrist husband. Maggie (Ayo Edebiri) is Alma's favourite student. She accuses Hank (Andrew Garfield), Alma's colleague and very good friend. This movie is a bit frustrating. Beneath the surface, this is an intellectual battle between generations. One where society internalized their feelings, and one where society externalized their feelings. The movie says a lot, but the message is muddled. Guadagnino makes many references to things and people that are no longer acceptable in today's society, seemingly poking the audience to see how they react. The score is unique, but I found it intentionally abrasive, annoying and a distraction. Garfield shows a different side of himself as an actor, and I commend him for that. Michael Stuhlbarg comes in yet again as the unsung MVP of the movie. Unfortunately, he's pretty much the only character I liked. I think my mind got whiplashed just trying to think about everything this movie is trying to say. This is a very messy movie, but I think that's the point. There is a great movie somewhere in here, but it's buried under a lot of philosophy and meaningful themes trying to fight for attention. Eventually, me and my metaphorical shovel got tired. The ending just left me confused and unsatisfied. Overall, AFTER THE HUNT is a good think-piece with great performances, with the rest just overwhelming, feeling like artistic Tourette's. Remember, not everything in the world is supposed to make you comfortable.

It's an academic drama about imperfect people set at Yale University primarily in 2020, with an epilogue in 2025. Alma Imhoff (Julia Roberts) is a middle-aged Philosophy professor married to psychiatrist Frederick (Michael Stuhlbarg). Her department colleague and competitor for a tenure position is Hank Gibson (Andrew Garfield). Alma's current Ph. D. student is Maggie Resnick (Ayo Edebiri), a wealthy African American student who seems to idolize Alma.

After a party at Alma's house, Maggie accuses Hank of sexual assault. The rest of the movie tests conflicting stories of what happened, while we also learn of the imperfections in the lives of other lead characters, like Alma. Accusations and pretentious intellectual arguments mask secrets gradually exposed.

It's hard for me to rate "After the Hunt." At a superficial level, this old man's ears had trouble with some of the dialogue, because much of it takes place against a background rumble or restaurants and bars, and Frederick's penchant for playing his music at home at a high level. Julia Roberts gives a remarkable performance. Andrew Garfield's Hank is too glib and untrustworthy by half to have a fully credible role. Ayo Edebiri is good, but not outstanding. Her character lacks a depth that would have enriched it. The film's examination of cancel culture is well done, and the storyline is strong. I thought the epilogue detracted from the power of what went before.

I'm sorry, but for me this movie taught me exactly how Superman felt whenever the criminals brought in the kriptonite. Strength getting sucked out of my soul. That's not a subjective opinion either, because they worked hard to achieve that end. The tedious tik tok, the horrible background music, except for 2 decent songs. No chance of caring for any character, constant Woody Allenesq humorless intellectual dialogue. Seemed like the kind of movie Russia loves to show their people to help prove how horrible Americans lives really are.

I'm a huge fan of Luca Guadagnino, always have been - he just gets how to turn quiet moments into something that completely consumes you. His films are never really about what's happening on the surface - they're about what's simmering underneath, the feelings we try to bury, the things we don't say out loud. 'After the Hunt' is a perfect example of that - it's uncomfortable, and it doesn't always give you answers - but it forces you to sit with things, to think, to argue with your own instincts afterwards. And honestly, I loved it for that.

Julia Roberts gives such a layered performance - you can almost see every moral conflict flicker across her face - and Andrew Garfield brings this oddly fragile energy that balances her so well. It's slow-burning, uncomfortable at times, and yet absolutely hypnotic to watch, especially when the film never tells you how to feel - it just lets you sit in it. What stayed with me the most tonight were a few key things: how much culture has shifted, and how difficult it is for the "old guard" to reckon with the fact that what once felt acceptable-or at least unspoken-now reads as complicity; that the real reckoning isn't just legal or procedural, it's emotional and generational; that acknowledgment is a form of agency; and that the mechanisms of silence don't change, only the people confronting them do.

I love films that make you need to talk about them after, to dissect every little choice and question where you'd stand if it were you. 'After the Hunt' did exactly that. It's not about action - it's about introspection, guilt, and personal truth - and honestly, that's my favourite kind of cinema.

I hate to say it but this movie is that friend that's giving off small dick energy! It's trying to pretend to be timely and discuss many blurred-line areas but ended up without a single original thought.

Don't get me wrong, it had some interesting questions to pose, just concluded to biting off more than it can chew.

Ayo's character is a young rich black gay woman claiming sexual assault from her male professor... and that tells you how much the movie is trying to gorge on "intellectual distinctiveness" only to end up in the ruins of smugness.

Such a shame for a stellar cast and a wonder full director. 6 only because I'm generous.

Luca Guadagnino's 2025 drama, despite featuring the unmistakable presence of Julia Roberts, ultimately fails to coalesce into a compelling cinematic experience. The narrative suffers from glaring inconsistencies, leaving too many unresolved questions that generate confusion rather than intrigue. Character arcs are poorly defined, undermining emotional engagement, while pivotal plot developments feel hastily constructed or superficially explored. Pacing is erratic: prolonged sequences linger without purpose, sapping momentum, while moments that should carry dramatic resonance fall disappointingly flat. Even the film's meticulous visual composition and polished cinematography cannot mask the shortcomings of a thin, underdeveloped script. In essence, this work represents a missed opportunity-an ambitious premise diluted by incoherence, unfulfilled narrative potential, and a frustratingly hollow execution.

After the Hunt starts with an intriguing premise and strong performances, but the film quickly loses momentum. The pacing is so slow that it becomes hard to stay engaged, you reach a point where you feel bored and almost ready to give up. While the cast delivers solid work and the film has a polished look, the story drags without offering enough emotional payoff.

By the time it reaches the end, the conclusion feels underwhelming and doesn't justify the long, heavy buildup. Overall, it's a movie with potential, but the slow pacing and lackluster ending make it fall short of what it could have been.

Nowadays, making a film about the atmosphere in American universities and the phenomenon of 'Cancel Culture' is probably as difficult as living, learning or teaching in such an environment and being confronted with these problems. A good example could be 'After the Hunt', the film directed by Luca Guadagnino on a script written by Nora Garrett. The film begins with the mention 'It happened at Yale', although the exteriors were filmed in Cambridge, UK and the entire plot and characters are, as far as I understand, fictional. Fictional but not implausible, because the general lines of the action are very plausible and similar cases have happened and will happen again. It is a complex reality that the script tries to address without simplifying. As in real life, however, it is difficult to decide in situations like those described in the film where stands the truth. Each of the characters is more or less something else than they try to seem.

Alma is a professor of philosophy at Yale, highly regarded and awaiting permanent appointment after ten years of teaching. She is loved by her students and esteemed by her colleagues, including her doctoral student Maggie, who seems to have made her a kind of role model in life, and her assistant professor Hank, with whom she may have a connection beyond the strictly professional relationship. The next day after an alcohol-soaked evening, to which Alma had invited Maggie, Hank, and other students and colleagues, Maggie appears at the professor's apartment door complaining that Hank attacked her after driving her to her apartment. Hank denies it, and Alma hesitates to take a stand, not knowing exactly what is the truth. In fact, we, the viewers, do not know exactly what happened either. The intellectual environment with its indirect speak and the pressure of political correctness make truth difficult to reveal. It seems to be a classic case of 'her word vs. His word', but each of the characters has a lot to hide. Caught between the student - potential victim - and the professor - potential aggressor -, under the pressure of the rules of academic ethics and the atmosphere of suspicion on the university campus, Alma falls into a personal crisis that risks destroying her career as well and brings to the surface details from her own past that she wanted buried and forgotten.

The two hours and 18 minutes of the film pass quite slowly. The screenwriter and the director asked for time to develop their characters, but not all of them are equally well-defined, and the discussions between them are not always interesting. A slightly more inspired script would have given more substance to what happens in the classrooms or hallways of the elite university, and that in fewer words. The film's chance lies in the performance of Julia Roberts, who has a complex role and fills the screen most of the time with the personality of a career woman who had overcome all obstacles until then, but whose life and profession were suddenly questioned. Ayo Edebiri plays Maggie. The actress is OK, but it seems like some more could have been taken out of the very interesting character of a young gay African-American, coming from a wealthy family, struggling to assert herself in an environment dominated by men. Andrew Garfield didn't seem to me to have managed to get everything he could out of the role of Hank. On the other hand, I was delighted by another supporting role, that of Alma's husband, a model of support, humor and devotion, a role deliciously played by Michael Stuhlbarg. 'After the Hunt' addresses a difficult issue in a period of tensions of all kinds on American campuses. Public pressure fueled by social media, relationships between students and professors, and the fragility of academic careers have preoccupied and continue to preoccupy American writers, screenwriters, and filmmakers. However, the heroine's indecision seems to have been shared by the film's authors, which, together with the lack of focus and the multiplication of dialogues with too little substance, make the film something less than it could have been.

Pay close attention to the opening titles. The typeface is the least annoying thing you will see for the next 135 minutes.

The story should be compelling but the film conspires against it. All of the main characters are irritating in their own distinctive ways. Worse, until about two-thirds of the way in, they are inaudible. Background noise, an intrusive score and poor table manners keep clarity to a minimum. Two devices in particular - an ominous droning that goes nowhere and a ticking clock that leads only to a well-merited career setback - are superfluous.

When, for some reason, the director chooses to make the dialogue audible, it's too late. The audience no longer cares and the characters long since ceased to be intelligible. The closing scene is simply laughable. Which is hardly an appropriate response to the subject of the film.

As the closing titles run, you may recall where you've seen the typeface before. It is called Windsor, and Woody Allen used it a lot. Perhaps, then, the typeface too is annoying, but to admit that would mean rewriting the introduction to the review, and life's too short.

As "After the Hunt" (2025 release; 139 min) opens, we are introduced to Alma, a philosophy professor at Yale. She and her husband are hosting a party at their house. Among the attendees are Hank, a colleague of Alma, and Maggie, a PhD student under Alma. At the end of the party, Hank and Maggie walk out together. At this point we are 10 minutes into the movie.

Couple of comments: this is the latest from Italian director Luca Guadagnino ("Call Me By Your Name", "Suspiria"). Here he brings a plot-heavy tale set on the academic circles of an Ivy League college. Did I mention that Maggie, the PhD student, is African-American? To say anything more would spoil the plot. Just watch. The Alma character is played by Julia Roberts. It is a TOWERING performance (but don't call is a "comeback"). Chloë Sevigny is barely recognizable as a colleague of Alma. The movie frankly could have benefited from a tighter edit as it meanders at times. Trent Reznor and Atticus Ross composed the score, which is quite symphonic and classical, in other words, the complete opposite of their score for TRON: Ares, also currently in theaters. In the end, the movie is not bad, but neither does it reach the heights of some of Guadagnino's best works.

"After the Hunt" premiered at this year's Venice Film Festival. It's bow being rolled out slowly into US theaters. It opened this weekend here in Cincinnati. The small screening where I saw it here today was attended so-so (about 10 people). If you are a fan of Luca Guadagnino's earlier works or simply a fan of Julia Roberts, I'd readily suggest you check it out, and draw your own conclusion.

"After the hunt" could have been excellent. Acting was incredible, and the story was interesting. However, the entire film was distracted by a very obnoxious score. And random cinematography. Overall, the film was well done however these shortcomings distracted so much that it took away from the entire movie. Julia Roberts was phenomenal, as was Andrew Garfield.

Boring from start to finish. A story that's not very unique. Acting is fine but they dont have much to work with here. Random weird noises and sounds on an overpowering soundtrack that drowns out the rest of the movie because they obviously knew it was too boring otherwise. Really one of the worst movies I've seen this year considering the decent cast.

I don't think most Guadagnino fans are going to like this, even though Luca's auteur style is definitely present, and in full force. No one will critique the stellar direction, the impeccable cinematography, or the top notch acting. What people can and I imagine will take issue with is the plot, which can be accurately described as intentionally and unapologetically ugly.

The reason it will fail to resonate with people is primarily because of how detached and cynical its presentation of American political discourse is. In it, MeToo, BLM, and even transgenderism are portrayed as tools that a self-serving academic and medial class use for nefarious means. Are the tools themselves critiqued? They are not, and this adds to a pervasively discomforting tension.

That said, people searching for affirmation of the aforementioned movements and ideals will not find them either. Guadagnino outright refuses to appease audience sensibilities- ANY audience- with surgical precision. He does not condemn or condone grand ideas and their factions, but small characters and their motivations.

Nonetheless, this is not exactly a subtle film. On paper, the plot deals with touchy subjects by offering a scathing diatribe and cinematic slap in the face- but this is seemingly only a way to jolt us awake. This movie is not like Eddington, where the slap IS the point, and a mass, impulsive descent into madness is just that. Guadagnino deals with a much more deliberate madness: While both films concern those who are driven to evil by a lack of control (Hank embodies this in multiple ways), After the Hunt is also and more effectively about those who are *drawn* to evil by a *desire* for control. Maggie's slap serves as a nuanced probing of those who knowingly and premeditatedly do wrong, while hypocritically lecturing others on their (questionable, much less significant) rightness.

Alma, the protagonist, is another example of hypocrisy. Throughout this film, we see her trying to solve everyone's problems: to help, it seems, those whom she cares about. But, she does so while ignoring and mistreating the one person who genuinely cares about her, who is so clearly vying for her attention it becomes comedic. Moreover, she allows herself to be involved in the business of others while ignoring much larger, much more serious issues that are clearly destroying her from the inside: one, a physical ailment, and the other, a terrible guilt.

The epilogue says a lot. After the hunt, after all the pain and harm they've caused each other and themselves, these people have learned nothing. They are back to their old games, their old egotistical ways, connected but fully detached, informed but completely disengaged. As the world burns around them, they continue living their cold, comfortable lives.

The final shot spells it out: the characters have been and still are driven primarily and perhaps only by hedonistic pursuits of money and pleasure, with reputation- no matter how unreflective of the true self- being the mechanism by which these things are attained. The whole film revolves around this premise, and I think it does so successfully. That mode of being- the ugliness thereof- is captured with captivating beauty and relentless honesty.

Do these people represent the ideas they opportunistically espouse, or the institutions they shamelessly corrupt? Is it the case that our intellectual hegemonies and journalistic institutions are rotted, that the people who make them up are self-righteous narcissists whose internal lives are repulsive to the core? Guadagnino refuses to give us a direct answer to these questions, and he doesn't care if that silence makes us uncomfortable.

His film is not a lukewarm bath into which we might sink, fall asleep, and drown. It is instead a water-boarding session, incredibly hard to endure let alone find any positivity in.

I loved every minute of it.

Luca Guadagnino has oftentimes provides some interesting directions and takes on stories about people, tension, and the flawed aspects of human beings on society. This being a narrative about the topics about assault and truth and fiction, it's quite an interesting meta observation about the MeTooMovement and characters.

Judging from early reviews, I'm a little surprised by the negative responses from people and I feel like people are missing the point about this movie. The narrative and direction approach Guadagnino offers is a pretty interesting take on the issues of sexual assault/harassment, and the conflicts about whether what is true or not true. Observing some unique themes and meta approaches to the atmosphere, tone, and the style. It doesn't give clear answers which I do enjoy, as it offers a good interpretation perspective to the writing and characters. Making it engaging and tense throughout.

Throughout, there are some good production designs and camerawork. The narrative, admittedly, it does suffer from some prolonged flaws especially on certain character develops. Which made certain aspects about the storytelling and character development feel a bit of a need of wake. But I do appreciate what the themes and the concepts are going for. All of the performances are great, especially Julia Roberts, Andrew Garfield and Ayo Edebiri, as their personalities and emotions are great, alongside with the rest of the cast members as well.

The musical score is pretty good although some sappy moments, the dialogue is unmistakable engaging and tense, and the pacing does feel balanced without feeling too slow nor unbalanced. Although the third act does lose a little bit of steam, as a whole, I still enjoyed this movie.

I wanted to see this movie mainly because of Andrew Garfield, one of my very favorite actors. He, like the others, did a great job, but I hated every single one of the characters they played. I'm sure there's a really great movie to be made about the trigger warning safe spaces generation, but this isn't it.

This film was an arduous experience to endure from the tick, tick, tick at the beginning all the way through to the final "Cut!" at the end. Although its thematic relevance may be arguable, the sound design, the pacing, and the character resonance were all irritating. Even the lighting at places was off. You can take world-renowned directors and world-renowned actors and still end up with a world-renowned flop. (I have a headache from watching After the Hunt!) I wish I'd skipped it-if it weren't for Julia Roberts starring, the last 2 hours and 19 minutes of my life could have been spared.