Luca Guadagnino’s latest film, “After the Hunt,” opens with a deliberate stylistic nod to Woody Allen, immediately signaling its thematic territory. Set against the backdrop of Yale University, the movie delves into a campus environment charged with allegations of sexual assault, the pervasive influence of cancel culture, and the vulnerabilities of Gen Z students. However, Guadagnino steers clear of the antsy, existential dialogues typical of Allen’s work, instead presenting a more calculating and morally ambiguous ensemble of professors and students.
The narrative centers on Alma Imhoff, a philosophy professor on the verge of tenure, her colleague Hank Gibson, and Alma’s star pupil, Maggie Resnick. After a party at Alma’s home, Maggie accuses Hank of sexual assault, igniting a campus-wide and deeply personal firestorm. Guadagnino’s direction, aided by Malik Hassan Sayeed’s somber cinematography, creates a reflective, almost suffocating atmosphere where intellectual debates about Foucault and feminism become charged psychological battles within the #MeToo minefield.
While the film aspires to be a compelling conversation starter, Nora Garrett’s script only occasionally achieves coherence. The plot’s turns can feel abrupt or unconvincing, leading to a sense that various ideas and scenes are loosely strung together. Despite these structural weaknesses, “After the Hunt” possesses a compelling prickliness. It thoughtfully examines how different generations, despite surface-level differences, share more common ground than they might realize, especially when navigating contemporary cultural debates often dominated by moralistic certainty. Here, the film suggests, everyone is flawed, making for a more nuanced portrayal.
Julia Roberts delivers a complex performance as Alma, a character who is esteemed, intelligent, and deliberately hard to read. Her husband’s adoration contrasts with Alma’s less evident affections, and Roberts’ subdued portrayal, while perhaps lacking her usual ebullience, lends a weary authenticity to the role. Andrew Garfield also shines as Hank, particularly in moments of rage. The film uses subtle visual cues, like the mirrors surrounding Hank during a tense conversation with Alma, to suggest that the real reflections are found within Alma and Maggie themselves, exploring themes of self-perception and the impact of societal pressures.
As Maggie’s accusations escalate, impacting both campus life and Alma’s personal world, Alma finds herself shifting from mentor to adversary. Alma’s own past experiences are woven into the narrative, casting the central conflicts in a new, more complex light. The film ultimately suggests that in an era where “optics over substance” seems to prevail, genuine resolution and happiness are elusive.
Despite its unevenness, “After the Hunt” is commendable for its attempt to navigate these sensitive subjects with a unique perspective, offering a tragedy rather than a procedural. The film, rated R for language and some sexual content, runs for 139 minutes and earns a respectable two and a half stars out of four.