Julia Roberts headlines After the Hunt, a drama set within the world of academia that arrived in UK cinemas on 20th October 2025. Despite a talented ensemble including Andrew Garfield and Ayo Edebiri, the film struggles under the weight of heavy philosophical discussions, making it difficult for many viewers to connect with its story and themes.
A Complex Story of Abuse and Privilege on a University Campus
Roberts portrays Alma Imhoff, a philosophy professor at Yale University, living the luxurious lifestyle often seen in films. Alma is pursuing tenure while deeply engaged in intellectual debates addressing thinkers like Kierkegaard and Hegel alongside colleagues such as Hank, played by Andrew Garfield, and Maggie, a dedicated PhD student portrayed by Ayo Edebiri.
The plot intensifies when Maggie returns to Alma’s home distraught, revealing that Hank, who had escorted her after a social gathering, kissed her and went further without her consent. Maggie accuses Hank of assault, setting off a confrontation that blends personal betrayal with academic politics. Hank counters by revealing Maggie’s plagiarized dissertation, which complicates the situation further given Maggie’s privileged background as the daughter of billionaire donors and her identity as a Black woman navigating an environment dominated by straight white men.
Power Struggles and Ethical Debates Drive the Narrative
The story evolves into a tense conflict as Maggie decides to press charges while Alma attempts to remain detached, worried about her professional standing. The screenplay, written by actress Nora Garrett in her debut as a screenwriter, focuses heavily on the moral and ethical challenges faced by the characters. Alma’s own health issues unravel in tandem with escalating tensions, further deepening the personal and institutional complexities.
Director Luca Guadagnino, known for his work on Call Me by Your Name and Challengers, brings a style that, while visually confident, is overshadowed by the script‘s dense and sometimes inaccessible philosophical exchanges. These debates on academic morality and ethics may alienate general audiences who are not well-versed in philosophy, reducing the film’s overall impact.
Stylistic Influences and Cinematic Homages in the Film
The film’s opening evokes the aesthetic of Woody Allen’s movies, featuring a jazzy score over black-and-white title cards with the cast listed alphabetically, a signature Allen technique. Director Guadagnino admits this could be both homage and subtle commentary on Allen’s controversial legacy.
Guadagnino also seemingly draws inspiration from other contemporary films addressing cancel culture and institutional power. The complexity and nuance found in Todd Field’s Tár and Justine Triet’s Oscar-winning Anatomy of a Fall are echoed in After the Hunt, though the execution here feels less refined. A particularly grating dinner scene recalls Triet’s technique of using disruptive sound to heighten discomfort during conversation.
Julia Roberts‘ Performance Amidst a Challenging Script
Behind the soundtrack by Trent Reznor and Atticus Ross, which adds to the film’s uneasy atmosphere, Julia Roberts stands out delivering a committed and intense performance. Her portrayal of Alma captures the slow unraveling of a woman grappling with her failing health and moral dilemmas, including moments of unexpected cruelty toward Maggie’s non-binary partner.
Roberts embraces the role in what could be described as a “watercooler” film—one that invites heated debate but risks alienating audiences due to its concentration on privileged characters trapped in their own hypocrisy. Nevertheless, the film offers a sharp examination of “woke” culture’s battlegrounds within elite academic spaces, stirring discomfort and conversation.
Critical Context and Cultural Relevance
While After the Hunt may falter as accessible entertainment, its themes resonate with ongoing societal discussions about power, privilege, and accountability in elite institutions. The film’s portrayal of a generational divide, intersecting with issues of race and gender, reflects real tensions in academia and beyond, although the delivery lacks the subtlety and drive seen in comparable works.
Fans of Julia Roberts and followers of Luca Guadagnino‘s filmography may find value in the film’s attempt to navigate these turbulent issues, but audiences seeking a cohesive and engaging drama might find the heavy-handed debates and complex character dynamics more frustrating than illuminating.
About the Reviewer
James Mottram is a London-based film critic, journalist, and author with extensive experience analyzing cinema and cultural trends.
