Julia Roberts defended her new film, After the Hunt, at a heated Venice Film Festival press conference, addressing questions about the thriller’s stance on the #MeToo movement and cancel culture.
Set in the world of academia, the movie follows Roberts as a beloved college professor who faces a personal and professional crossroads when her mentee, played by Ayo Edebiri, accuses a friend and colleague, portrayed by Andrew Garfield, of crossing a line. The discussion at Venice touched on whether the film undermines feminist momentum or fuels old arguments about believing women who speak up about sexual assault allegations.
Roberts deflected an early question about whether the film revives old arguments, insisting she hopes the work sparks conversation rather than pits women against one another. “The thing you said that I love is it ‘revives old arguments.’ I don’t think it’s just reviving an argument of women being pitted against each other or not supporting each other. There are a lot of old arguments that get rejuvenated that creates conversation,” she said, adding that the audience’s post-screening conversations were precisely the goal: “You realize what you believe in strongly because we stir it all up for you. So, you’re welcome.”
Asked again about controversy, Roberts maintained that the film is not about making statements but about portraying people in a moment in time and encouraging dialogue. “If making this movie does anything, getting everybody to talk to each other is the most exciting thing that I think we could accomplish,” she said, noting that whether viewers feel excited or infuriated is up to them. She also quipped about the morning questions, joking that she loves the softball questions early in the day.
Director Luca Guadagnino weighed in, describing the film as “looking at people in their truths.” He emphasized that the project explores a clash of perspectives and the boundaries where those truths intersect, rather than serving as a manifesto to revive traditional values.
After the Hunt is screening out of competition at Venice, a festival currently showcasing high-profile premieres and titles, including Yorgos Lanthimos and Emma Stone’s conspiracy thriller Bugonia, George Clooney and Adam Sandler’s road-trip dramedy Jay Kelly, Kathryn Bigelow’s The House of Dynamite, and Dwayne “the Rock” Johnson’s MMA drama The Smashing Machine. Guadagnino has a long Venice history, with previous projects premiering there, while Roberts, Garfield, and Edebiri are making their Venice bows with this film, which debuts Friday evening.
In a rare moment of levity amid the tense press conference, Roberts urged the cast to open the cans of water placed in front of them so their “noise doesn’t disrupt the incredible things we’re about to say.” Garfield quipped that it felt like a daily on-set ritual, illustrating the dynamic energy behind the production.
What to watch for: the film’s ambition to provoke nuanced dialogue about gender, power, accountability, and the complexity of truth in contemporary discourse; Roberts, Garfield, and Edebiri’s performances and how they navigate a story that intertwines personal loyalty with professional scrutiny.
Summary: After the Hunt uses a college setting and a high-stakes accusation to challenge audiences to think deeply about truth, belief, and how society handles conversations about consent and accountability. The filmmakers frame the project as a conversation starter intended to engage viewers rather than to settle debates.
Positive note: The press event underscored the film’s goal of stimulating discussion across audiences, a reminder of cinema’s potential to illuminate difficult topics through dialogue and diverse perspectives.