When it comes to music properties, Hollywood is quite diverse. From award-winning musicals to documentaries to biopics, there are many to pick from. Of course, being a writer and documentarian, I like Cameron Crowe's Almost Famous a lot. Well, Lurker inverts this in a sadistic manner and produces something magnetic, cinematic and packed with gravity for a modern era of artists and consumers. MUBI got the rights to it after Sundance 2025. It's now in theaters and quite riveting.

It stars young English actor, Archie Madekwe as Oliver. You'd be familiar with his work and promise from Saltburn, See and Gran Turismo. To call him one of the business' young stars (and maybe even a future James Bond) would be an understatement. Here, he portrays an upcoming pop artist who feels like a tame version of The Weeknd. But in a good way. As charming and innocent as he seems, he is into the sordid lifestyle, but he yearns for family after years of grief, family, tragedy and loss. This influences his work: synth, R&B, shoegaze and a series of mash-ups that has him pegged as a future Grammy winner. 

Alex Russell in his directorial debut, though, doesn't just make it about his musical journey. Rest assured, it's not cosmetic drivel about sex, drugs and rock and roll like HBO's The Idol. Well, not totally. Instead, Lurker focuses on someone 'Ollie' brings into his small inner-circle: Matty. In time, Matty slaves away as a groupie and roadie, hiding his longtime crush and stalking, while finessing his way into becoming one of the star's videographers. He craves the singer, but he does come off sympathetic in how he wants to be part of the tribe. But as we learn more about him, his compassion and empathy get weaponized. The story takes a marauding bleak turn that fans of Single White Female and Nightcrawler would like, focusing on Matty flipping the idea of exploitation and appropriation on its head. He evolves and wants to use his position to grab power and find his place in the world, whether it's as Ollie's muse or someone blackmailing and torturing him for his sins.

It riffs on Amazon Prime's Swarm a bit, regarding fan obsession, but conversely, how far artists will go to mark their art stand out. I won't spoil the twist in the finale, but it leads into how some folks are willing to sleep with the enemy (literally and figuratively) to succeed. And it might be easier if they actually think this person does help their career. In doing so, Russell subverts the idea of the big villain, egotist and narcissistic megalomanic being a studio exec. The demagogue, instead, is Matty and his intentions are clear: he wants to rule Ollie's life and push boundaries in terms of art. Even if it means he's hurting, enslaving and becoming a melodic, visually-driven puppet master. 

It's a tight, well-edited, concise and emotional movie that feels like something fresh in terms of music films. Sure, musicals tug at the heartstrings, but so does a story like this that appeals to young people chasing clout, what they will compromise to look cool online, and how they don't care about the hypocrisy. Once they make money or win plaudits, they'll go along for the ride. Russell smartly dials that down into the tour bus, recording room, bedrooms, dive bars and other intimate situations to remind viewers in the music industry, trust, love and companionship are never really truly lurking close by. It's all set to a saccharine audio bed that's every bit as catching, alluring and provocative as what Matty and Ollie have going. Ultimately, Lurker has relatability and reality that bubbles with enthusiasm, energy, and a harrowing, quiet intensity that fans of musicians, especially the indie world, shouldn't miss.