Opus

An aspiring writer receives a mysterious invitation to the secluded estate of a once towering pop star who vanished thirty years back. She enters a world thick with fawning followers and red-hot press, where the line between reverence and manipulation grows thinner by the hour. Rooms hum with whispered histories, cameras rotate, and the star's entourage guards each moment like a staged performance. The compound is littered with relics of a vanished pop era, from unsigned demos to conspiracy theories etched in wallpaper. As the web tightens, she discovers a plan that seems engineered to dictate not only the star’s legacy but the writer’s choices and very sense of self in the process. Her choices become a dare to control the narrative itself. The film also asks us to consider the tension between art that endures and the crowds that demand spectacle.

Directed by Mark Anthony Green, Opus arrived in 2025 as an original thriller with a budget of ten million dollars, featuring Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett and Melissa Chambers. The film favors claustrophobic scenes and precise dialogue over loud shocks.

Initial audience reaction sits in the middling range, with a 5.71/10 from about 200 votes. The film probes fame and control, showing how a vanished icon can still pull strings through a devoted inner circle and a relentless media glare. Strong performances from Edebiri and Malkovich give ballast to a story that trusts atmosphere over gore while lingering on questions about ambition, secrecy, and how truth is manufactured for an audience.

Since it's a recent release, cultural impact is still forming. Early chatter centers on celebrity worship, the ethics of reporting, and the pull of a charismatic figure. Scenes of isolation and the confrontations with a cult-like entourage could influence future thrillers about media power for a growing audience.