Mark Anthony Green’s Opus, an official selection at Sundance’s Midnight section, is a genre-defying dark comedy-horror that interrogates stan culture, media toxicity, and the deification of fame. Boasting electrifying performances from Ayo Edebiri and John Malkovich, Opus serves as a cinematic warning wrapped in a stylish, unsettling package. With an intricately woven narrative and biting social commentary, Green’s directorial debut stakes its claim as a provocative addition to modern horror.

Ayo Edebiri stars as Ariel, a perceptive but underestimated journalist invited to legendary pop star Alfred Moretti’s (John Malkovich) reclusive compound. Moretti, a once-prolific artist who retreated from the limelight three decades ago, now presides over a group of sycophants known as “The Levelists.” At first glance, the visit appears to be a rare journalistic opportunity, but Ariel quickly discerns something unsettling beneath the façade of artistic opulence.

The compound’s eerie atmosphere is amplified by bizarre rituals, cult-like devotion, and Moretti’s overbearing presence. Green uses this setting to explore themes of control, celebrity worship, and the often blurred line between admiration and obsession. Ariel’s sharp instincts and unrelenting curiosity position her as a new kind of “final girl”—one who fights back not with brute strength but with intellect and composure.

Edebiri delivers a stellar performance, seamlessly transitioning between moments of humor, terror, and quiet resilience. Her portrayal of Ariel eschews tired horror tropes, offering a layered and intelligent protagonist who refuses to make illogical decisions—a deliberate choice by Green.

“It was very important to me that Ariel was a young Black woman who didn’t do anything stupid,” Green explained. “I wanted her to navigate the story in a way that feels authentic and smart, reflecting the strength and resourcefulness of the Black women I know.”

Edebiri’s understated wit and unflinching resolve anchor the film, making her journey as compelling as it is terrifying. Her character’s perceptiveness not only allows her to uncover Moretti’s dark secrets but also exposes her vulnerability in an environment where the power dynamics are meticulously curated to disarm and manipulate.

Opposite Edebiri, John Malkovich commands the screen as Alfred Moretti, a mercurial figure equal parts charismatic and terrifying. Malkovich brings a theatrical flair to the role, channeling equal measures of pop-star grandeur and unhinged menace. The boots—Green’s genius touch—become a physical manifestation of Moretti’s larger-than-life persona, cementing him as an unforgettable antagonist.

Malkovich also recorded original songs for the film, collaborating with music legends Nile Rodgers and The-Dream. Tracks like Dina Simone and Tomorrow My Love—crafted with an ear for contemporary relevance—elevate Moretti’s mystique, making him feel like a genuine cultural icon.

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Opus is more than a horror story; it’s a sharp critique of toxic fandom and the commodification of celebrity. The Levelists’ obsessive devotion to Moretti mirrors the extremes of modern stan culture, where adoration often morphs into blind allegiance. Through a series of surreal and often grotesque sequences, Green examines how fame can distort reality—for both the idolized and their followers.

In one particularly chilling scene, Moretti stages a puppet show using dead rats to portray the media’s exploitation of iconic figures like Billie Holiday. Rosario Dawson’s haunting voice work as Holiday underscores the dehumanizing effects of fame, while the grotesque imagery forces the audience to confront their own complicity in celebrity culture.

Green also takes aim at the media’s role in perpetuating this cycle, using supporting characters like Juliette Lewis and Murray Bartlett to embody the cynicism and opportunism of seasoned industry players. Tony Hale’s performance as Moretti’s eccentric publicist adds a touch of dark humor, balancing the film’s heavier themes.

Visually, Opus is a feast for the eyes. Green’s background in fashion journalism shines through in the film’s meticulous art direction, from Moretti’s avant-garde wardrobe to the eerie opulence of his compound. The soundtrack, featuring contributions from Rodgers and The-Dream, amplifies the film’s tone, blending pop anthems with haunting melodies.

Green peppers the narrative with subtle nods to horror classics like Midsommar and The Silence of the Lambs, while also carving out a distinct identity for Opus. The film’s pacing is deliberate, building tension through atmospheric storytelling before delivering a series of gut-punching twists.

For a first-time filmmaker, Green demonstrates remarkable confidence in his vision. His ability to blend sharp social commentary with genre conventions sets Opus apart, making it both entertaining and thought-provoking.

“I feel inspired by the process, as hard as it is,” Green said. “As arduous and demoralizing and heartbreaking as it is to make a film, there was never a second where I wasn’t dying to make the next one.”

Opus is a triumph of modern horror, seamlessly blending humor, suspense, and biting critique. With standout performances from Edebiri and Malkovich, a razor-sharp script, and stunning visuals, it cements Green as a bold new voice in filmmaking.

Whether you’re drawn in by its commentary on stan culture, its psychological thrills, or its darkly comedic moments, Opus delivers on every front, making it one of Sundance’s most memorable offerings.

Rating: ★★★★☆

Watch the Opus Trailer Below:

Title: Opus

Festival: Sundance (Midnight)

Director-Screenwriter: Mark Anthony Green

Cast: Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Amber Midthunder

Distributor: A24

Running Time: 103 mins