The new A24 film Opus, starring Ayo Edebiri, has been met with a sense of déjà vu by some viewers. The film, set in a remote compound of a legendary pop star who disappeared 30 years ago, follows a young writer who finds herself in the middle of a sinister plan. While the film has a stellar cast and striking visual style, it falls into the category of wealthy oddballs inviting normies to their private island to do malevolent things, a trope that has become increasingly common in recent years.
Critics are questioning whether this type of satire, which portrays the elite as venal and murderous individuals, has lost its cutting edge and effectiveness. With a string of similar films and TV shows in recent years, the once fresh and exciting concept has become stale and overused. Some are even questioning whether these films can effectively convey an anti-capitalist message when produced by major corporations for profit.
Despite the success of some films in this genre, such as Get Out and The Menu, there is a growing sense of fatigue with the trope of the wealthy inviting ordinary people to their compounds for sinister purposes. It seems that Hollywood has seized upon a trend and run it into the ground, leaving audiences yearning for something new and original. As the debate continues, Opus and similar films are raising questions about the effectiveness of this type of satire in a world where the wealthy elite are increasingly portrayed as out of touch and malevolent figures.
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