Théodore Pellerin and Archie Madekwe shine in Alex Russell’s cynical feature debut about parasitical friendship and fame.
At first glance Alex Russell’s insidious thriller seems deceptively unremarkable. However, the darkly funny story has exceptional hidden qualities, just like its titular character. The most well-known member of the young cast is Saltburn supporting actor Archie Madekwe in the role of rising pop singer Olivier. Olivier might have a serious case of main character syndrome and believe everything evolves around him. But the layered story about pathological ambition and passive control is not about him, but about lowly fashion store clerk Matthew (Théodore Pellerin). When Oliver walks in that store, Matthew shows his talent to instantly spot social opportunities and to make the move that will benefit him most.
This move is to change to store music to a song he knows Olivier likes. As the rising star starts chatting to him about their aligning taste in music, Matthew pretends to have no clue about Olivier’s fame. This faux casualness gets him backstage access at Oliviers next concert and soon to his sloppy mansion. There Olivier hangs with his aloof yes-men friends and kind assistant Shai (a subtle Havana Rose Liu). Shai might be a minor character, but her honesty and cordiality provide an essential contrast to the jealousy and opportunism of Olivier’s posse. Their thinly veiled disdain for Matthew is almost painful to watch. Russel reveals a remarkable feel for – or perhaps experience of? – the playful cruelties of privileged young men.
To them Matthew is utterly disposable. But thanks to friendly advice from Shai, he makes himself useful. Olivier spontaneously promotes Matthew to shoot a documentary about him. The director job provides a perfect opportunity for Matthew to get closer to his fickle idol. Russell uses excerpts of the low-grade documentary footage to reveal key facts about the two young men and their evolving relationship. Olivier’s confident façade hides a deeply hurt kid who likely got rejected again and again. Now he has the power to reject people who crave his company. He has his own family now, Olivier stays, “and I get to chose who is in it”. Matthew learns this the hard way when Olivier abruptly drops him.
Matthew is determined to force his way back into Olivier’s inner circle and finish the documentary. Russell’s satirical tone turns darker, almost entering thriller territory. In contrast to films with similar themes such as The Talented Mr. Ripley and Saltburn, Matthew’s borderline-sociopathic behavior isn’t about murder or money. Ironically, he and Olivier are both driven by the same desperate need to be seen and appreciated. During one tense confrontation, Matthew tells Olivier that every single one of his yes-men was exactly as opportunistic and manipulative as Matthew. But his assessment is not fully accurate. Matthew is different from the pop star’s sycophantic entourage because he does care for Olivier, albeit with pathological obsession.
So is Olivier ultimately right when early one he refers to Matthew as his “best friend”? Russell leaves it up to the audience to answer such uncomfortable questions. As the power dynamics on screen shift, so do the viewer’s sympathies for the characters. The young cast is excellent, especially Pellerin who excelled in the 2020 Sundance success Never Rarely Sometimes Always. Like the titular lurker, the camera seems to just linger around. Yet, its unpolished images are as observant as Matthew. Russell’s sharp account of neediness and twisted ambition is set out to become a festival favorite: It premiered at Sundance and will play at Berlinale next. It’s the kind of intrusive story that whines its way into your mind and refuses to simply go away.
- OT: Lurker
- Director: Alex Russell
- Screenplay: Alex Russell
- Year: 2025
- Distribution | Production © SUNSHINE SACHS AND MORGAN LYLIS
