His upper lip trims so much for a short moment that you almost get afraid that he could faint in the next moment. The fashion boutique seller Matthew (terrific: Théodore Peller) did just as emphasized in disinterest when the heavily trendy pop star Oliver (just as grand: Archie Madekwe) appeared with his entourage to try on a few hoodies. But now that Oliver is invited to his concert in the evening, the cool facade gets first cracks …
Alex Russell has already written episodes for the multi-award-winning kitchen comedy “The Bear”, but for his feature film debut, the author and director uses his personal experiences in the music scene of La, where he, among other things. staged a video for the chaos rapper Zack Fox: who celebrated at his premiere in Sundance “Lurker“Is a pleasant-cynical, consistently unpredictable, but at the same time painful, authentic black comedy about an obviously through and through parasitic industry.
In the shadow of the sun king
Matthew says a few profound general places about music, and suddenly he is part of the crew. When he first enters the luxury villa, manager Shai (Havana Rose Liu) is sending another young man away – and the audience already suspects that Matthew at some point threatens a similar fate. But first of all, he believes himself, although he does not know exactly what is actually expected from him: Is he really the new best friend of Oliver or should he only do the washing up and clear the garbage?
In any case, the pop star proves to be moody: Even if you have just celebrated a common creative breakthrough, you cannot be sure that he does not completely ignore you the next day. In his oh so casual entourage, which among other things. There are some youth friends who seem to sit somewhat firmer than the rest in the saddle, there is therefore a constant punching and stabbing not only about the ranking, but also about every moment of Oliver's attention. But Matthew would really do everything to ensure that this condition continues forever …
Are Matthew (Théodore Pellerin) and Oliver (Archie Madekwe) really best friends?
The praising news that Matthew is constantly sending to Oliver are pure cringe – it runs down your back in the cinema chair in the cinema chair. But even if he is celebrated on the street of fans who saw him in an Instagram clip from Oliver, there is no security for Matthew that he will not be sorted out in the next moment and the dream is over again as quickly as he started. In truth, he is in a constant struggle for his position, every little misstep can mean that immediately. “Lurker” traces all the subtle but severe shifts in the power structure extremely precisely and authentically, in the sun-drenched La-Villa you even feel narrowed when watching.
But it comes as it has to come. Matthew is also being dumped. But of course he doesn't just let it sit on him. After all, he doesn't just want the same thing as everyone else, he wants it more. From here, elements of the genre cinema sneak into “Lurker”, even if, for example, not as extreme and explicitly as in the cult classic “Der Fan”, in which Désirée Nosbusch first dismantled and then eaten. Instead, “Lurker” hits some hooks that you have certainly not seen so, including a conclusion that asks the question of whether the relationship between fan and star is not more symbiotic than more parasitic in nature?
Looks incredibly good too
Théodore Peller (“Solo”) is as fascinating in the leading role. His total obsession, which absolutely has to belong to the inner circle, sparks sympathy as well as contempt – and ironically until the end it never really realizes whether Matthew likes the music of Oliver at all or that he is simply put on by fame like a moth from Light. Alex Russell takes a narrow line with astonishing self -confidence, as I said, in his debut. Incidentally, the same applies to the form: “Lurker” at least looks as if it has been turned on analogous film material, which of course is particularly popular in the young LA scene.
In addition, there are recordings with an old DV camera that Matthew uses for the backstage documentary and which look as pixelated as early skater videos from the nineties. When the cameras actually intended no longer have a juice, a music video shoot continues with the DC-CAM. If Matthew binds the antiquated device to a sheep to film the musical hustle and bustle from the perspective of the animal, there are nostalgic “Jackass” vibes. Nevertheless, “Lurker” never looks like a first film in which experiments are still being experimented with the different stylistic devices, but on the contrary, incredibly precise and controlled.
Conclusion: “Lurker” is cringe, cramped, unpredictable, stylish and incredibly entertaining and surprisingly touching at the same moment. As with the cult sitcom “Entourage”, which is based on the personal experiences of producer Mark Wahlberg, it is also a massive plus that Alex Russell knows the scene personally, in the abysses of which he dipped down in his impressive directorial debut.
We saw “Lurker” as part of the Berlinale 2025, where it was shown as a cooperation between the Berlinale Special and Generation.