There is perhaps no bigger cult than that of celebrity, a topic writer-director Mark Anthony Green explores in his feature debut, “Opus.” Though it somewhat lacks an emotional driving point, “Opus” boldly questions not only celebrity culture, but society’s culpability in feeding into such a culture. The film also showcases remarkable talent from all areas of production and sets off what is hopefully a long directorial career for Green.

The Cult of Celebrity

“Opus” centers young journalist Ariel Ecton (Ayo Edebiri), who is desperate to make her mark on the world in any way possible. An invitation to spend an exclusive weekend with the famous pop star Moretti (John Malkovich) could start her career off with a bang. If only she lives to actually see the beginning of it.

At its core, “Opus” is an exploration of celebrity culture, the jobs that exist because of society’s obsession with that culture, and how the two consistently, and sometimes unnervingly, feed into one another. Specifically, Green seems to ask, is there any way out of the cult of celebrity, or have we dug ourselves in far too deep? In this regard, “Opus” succeeds in its narrative mission. Despite some missteps along the way, the film gives viewers plenty to think about. Enough, at least, to more than warrant a second watch.

A Final Girl’s Opus

Beyond the narrative, the character work by everyone involved is spectacular. The standouts, however, are undoubtedly Edebiri and Malkovich. Together and apart, the two actors craft Ariel and Moretti into memorable characters who propel the plot forward even in its slowest moments.

Perhaps one of the most important parts of “Opus” as a horror film is that Edebiri’s Ariel is a smart final girl. She demands answers, follows her gut, doesn’t turn right when the entire audience knows she should have turned left. Ariel is a bright young woman whose only hubris is also one of her greatest strengths: she’s hungry for success. Edebiri perfectly portrays Ariel’s bravery, fear, and journalist-type ego down to the smallest of facial expressions. By the end of the film, Ariel is a complete character, and it’s hard to imagine anyone else giving her the kind of vitality Edebiri does with ease.

The same can be said for Malkovich and his Moretti. Whether it’s through strange music and dance scenes or simply while having a conversation with Ariel, Malkovich becomes the unsettling enigma that is Moretti. And in some instances, it’s almost too easy to see why hundreds of people would choose to follow him.

A Fun and Rewarding Watch

As wonderful as their performances alone are, Edebiri and Malkovich’s scenes together are a large part of what makes “Opus” a fun and rewarding watch. Ariel and Moretti’s relationship relies on strong elements of mutual distrust and respect, which Edebiri and Malkovich portray seamlessly. The two actors play off one another well, balancing tension with levity while providing the story with a believability that makes everything all the more real. If anyone doubted Edebiri’s star power before, the way she holds her own face-to-face with a legend like Malkovich, from their very first scene together to their last, should be more than enough to put all doubts to rest.

Though it’s not a perfect film, “Opus” does encourage audiences to think more critically about the merit and attention we give to celebrity culture. It also asks those who believe they operate above it all to question if that’s really the case. With this kind of interrogation in only his feature debut, Green shows that he has plenty more to say, and he’s just getting started.

“Opus” releases in theaters on March 14^th.