A24 has established itself as a powerhouse in the indie film industry, producing films across various genres, including romance, action, and horror. While the studio is recognized for hits like Hereditary and Talk to Me, its horror films often transcend conventional tropes. Opus, one of A24’s latest projects, continues this trend by blending psychological horror with societal commentary, focusing on a sinister cult obsessed with art and critique.
Unlike traditional horror films involving supernatural entities, Opus takes a more cerebral approach. The story follows a musical cult called the Levelists, led by Moretti (John Malkovich), who invites a group of critics and media figures to their Utah compound under false pretenses.
Among them is Ariel (Ayo Edebiri), a journalist who quickly realizes the cult has a dark agenda. As guests start disappearing, it becomes clear that the Levelists view critics as enemies, blaming them for stifling artistic expression. Their solution? Eliminate the critics entirely.
Moretti’s Violent Retaliation and Ariel’s Survival Spark Unforeseen Consequences and Success
The film takes a disturbing turn when Moretti orchestrates a violent retaliation against his guests. The cult members, fully devoted to their leader’s ideology, begin murdering the critics in gruesome ways. The tension escalates as the cult plans a mass suicide, believing their deaths will elevate them to a higher artistic plane.
Moretti sees this as the ultimate artistic performance, cementing his belief that art should exist without critique. The film draws comparisons to Midsommar, showcasing the dangers of unchecked egotism and fanaticism.
Opus (Photo: A24)As chaos unfolds, Ariel barely manages to escape the compound with the help of a remorseful cultist. Meanwhile, Moretti is arrested, and the media turns him into a villain. Ariel, traumatized but alive, seizes the opportunity to document her experiences. Two years later, she publishes a book detailing the horrors of the Levelists, which earns widespread acclaim. Her work is hailed as a brilliant exposé, but her newfound success comes with unexpected consequences.
The Price of Truth as Ariel Unwittingly Fuels the Cult’s Resurrection
In a chilling twist, Moretti reveals from prison that Ariel’s survival and subsequent fame were all part of his grand plan. He confesses that the cult orchestrated her escape, ensuring she would tell their story and unknowingly spread their ideology. With no bodies left behind at the compound, the Levelists quietly reintegrate into society, continuing to expand their influence. Ariel is left horrified, realizing she has inadvertently helped propagate the very philosophy she sought to expose.
Opus subtly critiques the media’s tendency to sensationalize stories. While Ariel believes she is uncovering the truth, she also benefits from the attention and success the story brings her. In her rush to publish, she overlooks crucial details that could have further exposed the cult’s ongoing activities. Moretti’s accusations against the press hold weight, forcing Ariel to confront her own complicity in the narrative.
Ultimately, Opus challenges viewers to consider the complex relationship between artists, critics, and the media. Moretti embodies the extreme belief that true art should exist without critique, while Ariel represents the ethical dilemmas faced by journalists.
By the film’s end, Ariel is left questioning her role in the system, burdened with the knowledge that she may have become another pawn in Moretti’s twisted vision. The film leaves audiences with a haunting reflection on the power of influence, the dangers of blind devotion, and the blurred lines between exposure and exploitation.
