At first glance, Alex Russell’s insidious thriller seems deceptively unremarkable. This darkly funny story has exceptional hidden qualities, just like its titular character. The most well-known member of the young cast is Saltburn (Emerald Fennell, 2023) supporting actor Archie Madekwe in the role of rising pop singer Olivier. Olivier might have a serious case of main character syndrome and believe everything evolves around him. This multilayered story about pathological ambition and passive control is not about him, but instead about lowly fashion store clerk Matthew (Théodore Pellerin). When Oliver walks in that store, Matthew shows his talent for instant social opportunities.

He plays a song he knows Olivier likes. As the rising star starts chatting to him about their aligning taste in music, Matthew pretends to have no clue about Olivier’s fame. This feigned casualness gets him backstage access at Oliviers next concert and soon to his sloppy mansion. There Olivier hangs with his aloof yes-men friends and kind assistant Shai (a subtle Havana Rose Liu). Shai might be a minor character, but her honesty and cordiality provide an essential contrast to the jealousy and opportunism of Olivier’s posse. Their thinly veiled disdain for Matthew is almost painful to watch.

To them Matthew is utterly disposable. But thanks to friendly advice from Shai, he makes himself useful. Olivier tasks Matthew with making a documentary about him. The director job provides a perfect opportunity for Matthew to get closer to his fickle idol. Russell uses excerpts of the low-grade documentary footage to reveal key facts about the two young men and their evolving relationship. Behind Olivier’s façade of confidence hides a deeply hurt and vulnerable kid. One would hazard a guess that he was rejected many times. Now he has the power to turn down people who crave his company. He has his own family now, Olivier stays, “and I get to chose who is in it”. Matthew learns this the hard way when Olivier abruptly drops him.

Matthew is determined to force his way back into Olivier’s inner circle and finish the documentary. Russell’s satirical tone turns darker, almost treading into thriller territory. In contrast to films with similar themes such as The Talented Mr. Ripley (Anthony Minghella) and indeed Saltburn, Matthew’s borderline-sociopathic behaviour isn’t about murder or money. Ironically, he and Olivier are both driven by the same desperate need to be seen and appreciated. During one tense confrontation, Matthew tells Olivier that every single one of his yes-men was exactly as opportunistic and manipulative as Matthew. But his assessment is not fully accurate. Matthew is different from the pop star’s sycophantic entourage because he does care for Olivier, albeit with pathological obsession.

So is Olivier ultimately right when early one he refers to Matthew as his “best friend”? As the power dynamics on screen shift, so do our allegiances. The young cast is excellent, especially Pellerin who excelled in the 2020 Sundance hit Never Rarely Sometimes Always (Eliza Hittman). Like the titular lurker, the camera seems to just linger around. Yet, its unpolished images are as observant as Matthew. Russell’s sharp account of neediness and twisted ambition is set out to become a festival favorite: It premiered at Sundance and will play at Berlinale next (incidentally, the same route as Hittman’s film). It’s the kind of intrusive story that forces its way into your mind and simply refuses go away.

Lurker just premiered at the Sundance Film Festival, and it also shows in the 75th Berlinale