What does it mean to be a popstar, to always be on the road and in the public eye 24/7? Abel Tesfaye just tried to show what it means to be The Weeknd in HURRY UP TOMORROW, a mixture between concert film and drama. In LURKER, which celebrated its premiere at the Berlinale, director and screenwriter Alex Russell asks the question from the perspective of a fan, though Matthew ((Théodore Pellerin) isn’t actually familiar with Oliver’s (Archie Madakwe) music when he comes to the clothing store where Matthew works. A relaxed, friendly relationship develops between the two and the self-absorbed Oliver invites the shy salesman to his concert. Matthew lands in the aftershow party and becomes part of the entourage who hangs around at Oliver’s house and goes with him on tour. The rising star is very in demand, and Matthew realizes that between the concerts, video shoots, and recording new songs, there’s no place for real relationships. Nevertheless, Matthew remains fascinated by fame and makes himself useful with his video camera, eventually becoming indispensable in his fixation on Oliver. Alex Russell, who has worked as a writer on the series “Beef“ and “The Bear,“ directs a dark thriller about interpersonal dependency which is smartly analyzed and well-observed. Young actor Théodore Pellerin is convincing in his transformation from a hanger-on to a dominant player. Archie Madakwe, a rising star himself after SALTBURN and GRAN TURISMO, perfectly captures the charisma and performance of the songs by Kenny Beats, Dijon and Rex Orange County on stage and in front of the camera. LURKER begins as a big birthday party and develops into more and more of a horror film without losing credibility.

Lars Tunçay

Translation: Elinor Lewy