Julia Roberts: From America’s sweetheart to ‘national treasure’ in ‘After the Hunt’

America's Sweetheart, Julia Roberts, is captivating audiences once more in Luca Guadagnino's psychological thriller, *After the Hunt*. Stepping into the shoes of Alma Imhoff, a brilliant Yale philosophy professor, Roberts delivers what many are calling one of her most compelling performances yet, all while maintaining her signature charm and wit even off-screen.

During a recent press tour in New York, Roberts radiated her well-known warmth. Journalists noted her attentiveness to co-stars Ayo Edebiri and Michael Stuhlbarg, pouring their water before her own, and even adjusting director Luca Guadagnino's collar at a press conference. Her infectious humor was also on full display, whether joking about "Philosophy For Dummies" when asked about preparing for her academic role or engaging candidly with the media.

Choosing her projects carefully, Roberts has focused on family life, making *After the Hunt* a significant addition to her filmography. She playfully acknowledged the "sweet spot" of accepting a role before the demanding work begins, a moment of basking in the anticipation before diving into the challenge of a complex character.

Despite her reduced film output, Roberts maintains a peaceful approach to public scrutiny. She views the true value of a film as the experience of making it, from the first day to the last shot. "Whatever value-added service comes when people see the film and they enjoy or appreciate it... that’s just the cherry on the cake," she explained, asserting that the "cake" – the personal fulfillment of the craft – remains hers regardless of external opinions.

*After the Hunt*, penned by first-time screenwriter Nora Garrett, thrusts Alma into a moral labyrinth. Her bid for tenure at Yale is rocked by sexual assault allegations made by her star student, Maggie Resnick (Ayo Edebiri), against Alma's dear friend and rival, Hank Gibson (Andrew Garfield). This campus upheaval not only tests loyalties but also threatens to unearth a secret from Alma’s own past.

Roberts admitted the classroom scenes, where Alma lectures on Michel Foucault's panopticon theory, were particularly "intimidating" due to the intense gaze of the student extras. This intellectual depth, exploring surveillance and social control, mirrors Alma’s own internal policing as she strives for the coveted tenure amidst a burgeoning scandal and broader issues of cancel culture.

Alma herself is a study in contrasts: outwardly gracious but fiercely ambitious, her cold eyes fixed on the tenure prize. Beyond her academic pursuits, she navigates a mysterious past trauma and conceals a debilitating physical pain, adding layers to her already intricate persona.

Andrew Garfield, who plays Hank, lauded Roberts as a "national treasure" during the film's premiere. Roberts, touched by the compliment, playfully suggested he uses such terms to make her squirm. Garfield also reflected on a "terrible, horrible scene" they shared, highlighting its single-take intensity and the profound exploration of his character’s self-recognition of darker aspects.

Beyond the Ivy League setting, *After the Hunt* thoughtfully dissects universal themes like racism, sexism, wokeness, victimhood, authority, tolerance, and the intricate dynamics of power and privilege, inviting global dialogue.

Roberts hopes the film sparks profound conversations. "It’s what art exists for, right?" she pondered, emphasizing its power to provoke, inspire, and mend. She views the shared experience of quiet darkness in a theater as a unique "elixir" in our chaotic world, where each viewer takes away something personal and distinct.

Embracing the complexities of Alma was a personal challenge, but one that Roberts found deeply encouraging under Guadagnino's direction. She acknowledged that after working less, the inherent fears of filmmaking return stronger, especially when picking "something that’s gonna be really hard to do." Yet, her collaboration with Guadagnino, which she described as a "freight train" of creative energy, fostered immense confidence.

Asked about the evolution of women's roles in film, Roberts offered a pointed critique, noting that discussions rarely focus on the "evolution or de-evolution of men in film." She asserted that characters, regardless of gender or era, are diverse, flawed, and constantly evolving, defying simple categorization.

Echoing her own family's legacy, Roberts, whose parents were theater teachers, shared a poignant memory of her high school English teacher, Mrs. Gutherman, who introduced her to *The Canterbury Tales* and the film *Becket*, fostering an unexpected emotional connection to historical figures. This early exposure, she says, profoundly influenced her.

A standout scene features Alma and her husband Frederik (Michael Stuhlbarg) hosting Maggie for dinner after the allegations surface. Stuhlbarg's improvisational mastery, including his character’s bizarre antics with music and household items, created one of cinema's most fascinating marital dynamics, leaving Roberts in stitches and awe.

Stuhlbarg explained his character's "annoyed husbandry" as a deliberate provocation, aimed at his wife while also expressing underlying concern. Roberts lauded his ability to bring such a "fully realized, complicated, detailed, and interesting" portrayal, noting that he consistently elevated the material beyond the script.

Ayo Edebiri immersed herself in research for her role as Maggie, reading memoirs of assault survivors, consulting with transracial adoptees and individuals from elite educational backgrounds. She explored the nuanced "tensions of privilege," particularly in Maggie’s identity as the adopted, queer daughter of a wealthy Yale donor, and her aspiration to emulate Alma.

Director Luca Guadagnino aptly described *After the Hunt* as an "action film" driven not by physical stunts, but by "intellectual stunts." He revealed an exhaustive research process, meticulously analyzing the characters' language, teachings, lifestyles, and even their attire to create a believable and intense "tug of war" between their minds.

Screenwriter Nora Garrett, a first-time writer transitioning from a "soul-sucking" job at Meta, drew inspiration for the film's title from Otto Von Bismarck’s quote about honesty after a hunt, during war, or before an election. She expressed profound awe at the swift production of her screenplay and a strong personal connection to Maggie's character, particularly in exploring the challenges of identity and privilege.

Reflecting on the press interactions, Roberts expressed genuine delight, saying, "The last couple of days could have been truly a nightmare... it has sparked us into conversation." She celebrated the thoughtful questions and the enthusiastic discussions the film has ignited, underscoring the richness of its layered themes beyond simple politics or gender issues.