A young writer is invited to the remote compound of a legendary pop star who mysteriously disappeared 30 years ago. Surrounded by the star’s cult of sycophants and intoxicated journalists, she finds herself in the middle of his twisted plan. A film by Mark Anthony Green, starring Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Amber Midthunder, Tatanka Means, Young Mazino, Stephanie Suganami, Tamera Tomakili, and Tony Hale.

The 90s global sensation Alfred Moretti (John Malkovich), a pop superstar with the highest-grossing world tour in history and an astounding 38 number one singles, has mysteriously vanished from the public eye for 27 years.

During lunch, young music magazine writer Ariel Ecton (Ayo Edebiri) confides in her friend Kent (Young Mazino) that she hasn’t been allowed to write any real stories she cares about in the three years she’s been with the magazine. Every major story she’s pitched has been shot down by her boss, Stan Sullivan (Murray Bartlett).

Back at the office, Ariel learns from her magazine editors (Aimee McGuire and Justin Perry) that rumors are swirling about Moretti’s return. When Ariel mentions this to Stan, he quickly dismisses it, insisting that if Moretti were really coming back, his publicist Soledad Yusef (Tony Hale) would announce it the way he always does, with a grandiose proclamation that a new album is on the way. Suddenly, another editor (Chris Highlands) rushes over with a laptop, placing it in front of them to show a YouTube video of Yusef announcing Alfred Moretti’s new album.

In the video, Yusef rattles off Moretti’s career highlights and boldly claims that Moretti’s new album “Caesar’s Request” will be the greatest album of modern times. He also announces that Moretti will be playing his new music for a select group of people this weekend before releasing it to the public.

After almost three decades of hiatus, the reclusive legend extends invitations to six individuals for an exclusive, one-time listening experience of his long-awaited album at his private compound. The invitations go to editor-in-chief Stan Sullivan; talk show host Clara Armstrong (Juliette Lewis); influencer Emily Katz (Stephanie Suganami); DJ Bill Lotto (Mark Sivertsen); paparazza Bianca Tyson (Melissa Chambers); and, surprisingly, junior writer Ariel Ecton.

The six of them board a private plane to their destination in Utah, where they transfer to Moretti’s iconic tour bus “The Debutante” for a four-hour-and-eight-minute journey to his compound. During the trip, Stan tells Ariel that he’ll be the one writing the review and article. He assigns her a specific task: take detailed notes of everything she sees, which he’ll look over during the weekend.

Upon arriving at the compound, they’re instructed to surrender their cell phones, supposedly to “ensure the integrity of the experience.” They’re told their phones will be returned on Sunday when the event concludes. That night, Bill is brutally murdered.

Ariel begins to sense something deeply unsettling about the place and Moretti himself. She deduces that he seems to be part of or perhaps leading some kind of cult. When she shares her concerns with Stan, he dismisses them entirely, telling her none of it matters and to focus solely on Moretti’s music.

Things take an even darker turn when Stan is accidentally shot by an arrow. Yet despite all the alarming and bizarre occurrences at the compound, every guest except Ariel appears strangely oblivious to the impending danger that might soon befall them all.

Written and directed by American filmmaker Mark Anthony Green in his directorial debut, “OPUS” follows an ambitious young journalist who receives an invitation from an enigmatic pop superstar.

John Malkovich and Ayo Edebiri electrify as a pop legend turned cult leader and the no-nonsense journalist who sees through his mystique. The film is filled with some breathtaking landscapes. While the story’s trajectory isn’t entirely unexpected, the film excels in building tension that draws you deeper into its unsettling world.

Initially, I thought Ariel would lace their drink with the cyanide she stumbled upon in Moretti’s museum house, giving her an opportunity to flee the premises. Then, surprisingly, she received help from one of the followers and ultimately managed to escape. I love how the final twist reveals it was all part of Moretti’s grand scheme.

OPUS premiered at Sundance Film Festival on 27 January 2025. The film was theatrically released in the United States on 14 March, by A24.