The internet has created a culture where actors, artists, influencers, and any celebrity archetype are almost immediately accessible in some way shape or form. Fans are given more and more opportunities to connect with their favourite people seamlessly through the likes of Instagram, Twitter, and TikTok. But the convenience of this has only caused people to be more curious and crave to be in the orbit of the people they see online constantly, going far and wide to be noticed by their favourite people. While most of the time it’s completely harmless and all in the name of passion and admiration, it can cross a dangerous line. Which is exactly what Lurker sheds light on.
We meet Matthew (Théodore Pellerin), a quiet and awkward retail assistant at a popular clothing store that up and coming pop star Oliver (Archie Madekwe) often frequents. When Oliver casually walks into the store, Matthew acts as though he hasn’t heard of said famous artist before in an effort to play cool. Matthew’s calm and collected demeanour, and the idea of potential anonymity of the fame Oliver holds only intrigues the singer, and Matthew quickly becomes invited to join the entourage; alongside manager Shai (Havana Rose Liu), videographer and editor Noah (Daniel Zolghadri), sound engineer Bowen (Wale Onayemi), and childhood friend Swett (Zack Fox). As Matthew becomes more ingrained in the group, he eventually becomes the designated documentary filmmaker, effectively replacing Noah. But the greed and infatuation of fame and stardom take a dangerous turn that leads Matthew down a spiral of unhealthy love and obsession.
Alex Russell’s debut film is a thrilling and uneasy watch. While it is a story that has been told throughout the years before on many different mediums, Lurker has a unique take on the “Y/N” fantasy, and really hones in on the uncomfortably cringey nature of fandom culture and the parasocial relationships people tend to form with their favourite artists; making audiences visibly recoil in their seat watching the interactions unfold as each scene goes on.
The film spotlights the intoxicating power for more and isn’t afraid to emphasise and play into the unnerving actions that often take place in fandoms in this day and age. And in a role that is often unfairly typecast to women, Théodore Pellerin does a brilliant job at being a crazed “fanboy”, slowly unravelling at the seams with blank stares and empty words. Where Matthew’s first appearance on screen makes you immediately tense and apprehensive of his character. There’s no rhyme or reason as audiences are barely aware of who he is as a person, but Pellerin is able to depict a demeanour that feels unwelcoming and strange from the get go. And in contrast, Archie Madekwe plays the charming and struggling creative trope so well, that you too want to be a part of that energy and artistry, understanding Matthew’s desire if only for a second.
This idea of celebrity culture and the obsession people have with the perception of who these celebrities portray themselves to be online is a real phenomenon. Lurker is a chilling take on what could and probably has happened to a select few artists (most likely not to the same types of delusion), and how obsession and exploitation in the entertainment industry is so scarily palpable.
This film is the type to creep under your skin – it’s disturbing, eerie, and with an ending so abrupt, will leave audiences speechless.
