Studio: Mubi
Release Date: 3/3/2026
Rating: R
Film Grade: B+
The Story: Rising pop star, Oliver, makes a stop at a trendy clothing store. Employee Matthew notices and moves a specific song to the top of the store’s music system, immediately catching Oliver’s attention. After discussing the song’s significance, Oliver invites Matthew to his next show, hooking him up with a backstage pass. It’s not long before a connection forms between the two, leading to unexpected changes for both of them.
My Take: Billed as a psychological thriller, the emphasis is clearly and solidly on the psychological aspect. While the movie features thriller-type elements, those watching solely on that account will be underwhelmed.
In contrast, the film offers multiple layers of psychological depth and themes centered around creativity, control, influences, and the draw of celebrity. Alex Russell (producer of celebrated TV show, The Bear) directs from his own script and original story. There are multiple actors in the film, but it’s clearly focused on Oliver and Matthew. Archie Madekwe (Gran Turismo) plays Oliver, giving him a natural magnetism that makes him completely believable as a pop star. I’m so far away from the current music scene that I actively wondered if he was an actual singer. He’s not, but is completely convincing as a young celebrity surrounded by a devoted posse.
Opposite him is Théodore Pellerin as Matthew, an awkward young man who still lives with his grandmother. Smart, with a special eye for photography, his embrace of an old camcorder is something that catches Oliver’s attention. What he lacks in social skills, he makes up for with insight and intelligence. The two are a study in contrasts, united in their individual desires and ambition. This forms the basis for both collaboration and conflict that is fascinating to follow, taking it far beyond your average thriller.
As good as those two primary actors are, Russell gives the secondary characters plenty of room to contribute and breathe. Those roles often get dismissed in this genre, mostly being used for plot contrivances, but that’s not the case here. Whether back at Oliver’s crib or out filming a video, they all have purpose and feel three dimensional, with much of that acting being non-verbal. There’s a scene at the dinner table where few words are exchanged, but the feelings come through loud and clear, revealing more about relationship dynamics than dialog would.
The movie makes the most of it’s low budget by shooting in real locations, adding to the palpable sense of reality as things naturally progress. Oliver’s digs feel like a place where a bunch of guys would hang out. The store looks like a trendy place to buy the hippest clothing. The concert backstage has that sketchy vibe you would expect for a pop star still on the rise. There’re no outlandishly staged places; the production feels totally grounded.
That basic setting allows the story to flow in a completely believable way. So many thrillers depend on sleight of hand, yanking the rug out from underneath the viewer to keep things interesting and surprising. We have the opposite effect here. The story takes twists and turns but they’re all well within what we would expect from the characters; the tension is based on what we believe they would actually do.
That story structure really gives room for themes to breathe and weave in and out of the plot. It raises questions about the nature of creativity and those that are attracted to it, the effects of celebrity in culture, and how far one is willing to go to reach ambitions. These elements stick with the viewer long after the last credits have rolled.
Visuals: Shooting on 16mm film adds to the authenticity of the movie, as do the insert videos that show what Matthew was capturing on his camcorder. The goal here isn’t for a slick, modern presentation. Instead, it has a natural feel that fits in with the themes of the movie. Many of the shots are handheld, adding intimacy to the story, making it all the more effective.
Audio: The DTS-HD MA mix also has an authentic feel. It’s not overly aggressive, other than a few music-heavy sequences. Dialog is clear, although Madekwe’s accent can be a little hard to decipher in a few spots, but not to the point where it ever interferes with the story. Like the video, the sound feels completely natural and freshly captured instead of glitzy or stylized.
Special Features: None
Final Verdict: I was almost dismissive of this title, thinking it would just be another stale low-budget thriller, filled with the usual tropes. I’m so glad that we gave this a shot. The themes are heavy and deep, coming through even harder because of how grounded the whole production feels. There are moments where it seems clear where things are headed, but it then takes a completely different turn.
Highly recommended for anyone looking for an above average character study of two people struggling with their future ambitions and each other. The trailer gives away some of the more dramatic parts of the movie, but is edited in a way that doesn’t give away the plot. Still, I wouldn’t recommend watching past the first 60 seconds to keep things surprising.
Early Quote: “"You. . . you make music?"
This review was written by a human without the use of AI.My Review System:JVC DLA-RS3100 4K Ultra High-Definition Front Projector
Elite Screens Sable Frame B2 117” Width with Infinitely Variable Height
Monolith by Monoprice HTP-1 16 Channel Processor with Dirac Live
Monolith by Monoprice 7x200 Watts Amp
Monolith by Monoprice 3x200 Watts + 6x100 Watts Amp
JBL Studio 590 for Left, Center, Right, Wides, and Rears
JBL Studio 580 for Side Surrounds
JBL Studio SCS 8 for Tops
JTR Captivator 1400 Subwoofer X 4
Panasonic DP-UB420 4K Ultra HD Blu-ray Player
Oppo BDP-93
NVIDIA Shield Android TV - 4K
Xbox One X
HTPC Running madVR (work in progress)
Remote: URC MX-780
Mini DSP 2X4 HD controlling all subwoofers
APC S15 Power Conditioner with Battery Backup
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