Julia Roberts is brilliant, but After the Hunt is ultimately shallow stuff review
Briefly

Julia Roberts is brilliant, but After the Hunt is ultimately shallow stuff  review
"Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging. At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story."
"Luca Guadagnino has always rolled around in the mess of life, amongst the egomaniacs, the adulterers, and the cannibals, from Call Me by Your Name (2017) to Challengers (2024). I can see the appeal of After the Hunt's script, then, provided by debut screenwriter Nora Garrett, which places Yale philosophy professor Alma (Julia Roberts) at the centre of a sexual assault accusation."
"A lifetime dedicated to refining the ethical rules of our existence immediately falls apart in the face of slippery, human emotion. There are certainly moments in After the Hunt that bristle with true Guadagnino provocation: he opens the piece with the sly roll of jazz and titles written in Windsor Light Condensed, both trademarks of Woody Allen, a figure whose work has been cyclically evaluated and reevaluated under the revealing light of the #MeToo movement."
The Independent covers a wide range of urgent topics, from reproductive rights and climate change to Big Tech, and emphasizes on-the-ground reporting. Donations fund continued deployment of reporters and allow reporting and analysis to remain free of paywalls, supported by readers who can afford to contribute. The Independent produced the documentary 'The A Word' to highlight American women fighting for reproductive rights. Luca Guadagnino's After the Hunt places Yale philosophy professor Alma (Julia Roberts) at the centre of a sexual assault accusation, complicating mentor and friend relationships and exposing the collapse of ethical theory under human emotion. The film uses stylistic touches and references that invite reevaluation amid #MeToo-era scrutiny, and a dean admits, "I've found myself in the business of optics, not substance."
Read at www.independent.co.uk
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