Today I saw Alex Russell’s directorial debut, Lurker, and I left the cinema completely floored by what an intense ride it was. I honestly can’t remember the last time a film made me feel so deeply uncomfortable and so adrenaline-fueled at the same time. When it ended, I had to sit in my car for a while just to calm down before driving home. It’s genuinely shocking to learn this is Russell’s first time directing, he orchestrates the film with such confidence and precision, crafting a visceral emotional experience that grips you relentlessly from start to finish.
The film follows retail employee Matthew, Théodore Pellerin, as he works his way to the inner circle of pop-star Oliver, Archie Madekwe. When his obsession starts to get the better of him, his whole world he has worked to be apart of eventually starts to fall apart.
The film excels at exploring themes of obsession, manipulation, and jealousy, as its characters vie to become the centre of Oliver’s world. Set in Los Angeles’ creative underground, it firmly belongs to the indie tradition, embracing visual motifs that have become iconic within this strain of LA filmmaking- from disposable cameras and bike rides through the city to neon-lit nights and expansive, arid landscapes. Its storytelling is inventive not only in narrative but also in its meticulous set design, costuming, and the way the music videos are shot, all of which contribute to an undeniable sense of cool. The film captures an eerie, dreamlike culture that so many people long to be part of, most notably embodied through Théodore Pellerin’s character, Matthew. I also found it brilliantly shows the culture we are in where people gain so much joy through followers and the attention they receive from others online. The protagonist is clearly a parasite or leach in this instance- feeding from the fame and attention of others.
Théodore Pellerin delivers the standout performance of the film. He embodies Matthew as an unsettlingly desperate figure, someone clearly ensnared by the illusion of the American Dream. He begins as a vulnerable, gentle character, earnestly longing for an opportunity to escape the confines of retail work and build a better life. As an audience member, you instinctively root for him, even as it becomes clear that he is being subtly manipulated. As the film unfolds, Matthew’s behaviour grows increasingly obsessive and sinister, warping our perception of not only him but every character around him, and prompting the unsettling question of whether we, as viewers, are being manipulated as well.
Archie Madekwe is equally compelling as Oliver, delivering an emotionally charged performance that captures a deep passion for his craft. He is also an impressive singer- an aspect that truly elevates the film. Too often, films centred on musicians are padded with forgettable songs, but that is not the case here. The music is thoughtful, meticulously crafted, and integral to the storytelling. The broader soundtrack further reinforces the film’s themes, with tracks like “I’m Your Puppet” by James & Bobby Purify serving as a perfect metaphor for the film’s exploration of control and exploitation.
One pleasant surprise was Sunny Suljic, whom I hadn’t seen since his performance in Mid90s. He delivers an excellent turn here, further strengthening an already remarkable ensemble.
Another aspect of the film that really stood out to me was its use of multiple camera formats. With Matthew shooting a documentary about Oliver, the film seamlessly weaves in footage from an old, grainy camcorder alongside the primary narrative. This approach creates an intimate, subjective perspective, allowing us to see Oliver as Matthew sees him. It heightens a sense of voyeurism, making the audience feel as though we are lurking alongside the protagonist- watching, observing, and intruding in the same unsettling way.
Overall, the film is exceptional and marks a remarkably assured directorial debut from Alex Russell. His choice to cast relatively unknown actors pays off immensely, and his ability to draw such compelling performances from them not only strengthens the film but also leaves the audience eager to follow these performers’ careers and see what comes next.
Lurker was released in UK cinemas on the 12th December 2025.
Megan Hilborne (Instagram: meghillbilly) is a freelance writer and film critic based in Portsmouth. She graduated with a degree in Film in 2020 and has continued her study of the medium in her day-to-day life. She takes particular interest in indie, horror, feminist and queer cinema.
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