Shadows on the Wall | The Invite

The Invite

dir Olivia Wilde
scr Will McCormack, Rashida Jones
prd David Permut, Ben Browning, Megan Ellison
with Seth Rogen, Olivia Wilde, Penelope Cruz, Edward Norton
release US 26.Jun.26,
UK 3.Jul.26
26/US Annapurna 1h47

SUNDANCE FILM FEST

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Bristling with awkward energy, this remake of the 2020 Spanish dark comedy The People Upstairs astutely takes on some serious themes as actor-director Olivia Wilde's camera circles around two couples in real time over the course of one evening. With the limited cast and location, the film feels somewhat stagy, but the nuanced performances and intriguing ideas are both funny and provocative enough to keep us gripped.

After another dreary day teaching music, Joe (Roger) wants to wallow in his misery, but his wife Angela (Wilde) has invited upstairs neighbours Pina (Cruz) and Hawk (Norton) to drop in for drinks. Joe wants to cancel, while Angela is worried that he'll offend their guests by complaining about the loud lovemaking. Then when Pina and Hawk arrive, they're unapologetic about sex, extolling the pleasures of their open-minded relationship and inviting Joe and Angela to join them. This is a challenge the stubborn Joe and Angela can't resist. But can they go through with it?

Where this goes is a mix of edgy humour, nutty slapstick and moving emotionality as these people are forced to confront their own opinions and feelings. The dialog is superbly written to reveal these four characters at both their best and worst, cleverly allowing them to push and pull each other in unexpected directions. So the interaction is thoroughly entertaining, both eye-opening and sharply pointed, veering off into pungent angles as the dialog explores the core issue of respect.

The four-sided ensemble is excellent. Rogen channels his usual bluster in a way that reflects Joe's feelings of inadequacy, which are playfully overstated in his reactions to pretty much everything that happens. Wilde gives Angela a deeply internalised yearning for connection that's sometimes painful to watch. Cruz shines as the sexual therapist who speaks bluntly and rather enjoys pushing peoples' buttons. And Norton balances Hawk's smug aloofness with an underlying desire to please.

Yes, the central idea here is that you can't love anyone else if you don't first love yourself. As the script progressively unpicks each person's self-image, the film is beautifully shot and edited to maintain a balance between these characters, allowing us to see ourselves in their individual messiness. After the evening's somewhat delicate chaos, the final scenes feel oddly literal, deliberately pushing the sentiment. But the lively discussion leaves us with a lot to think about.

themes, language 5.Jun.26

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