Venice Film Festival<\/a>.<\/p>\nThe film, set in the world of higher education where Roberts plays a beloved philosophy professor, revolves around an accusation of misconduct. Her mentee, played by\u00a0Ayo Edebiri,\u00a0accuses her friend and colleague, played by Andrew Garfield, of crossing the line. Nora Garrett\u2019s screenplay does not offer easy or simple resolutions.<\/p>\n
One reporter asked Roberts if she thought the film undermines the feminist movement and progress of the #MeToo movement.<\/p>\nJulia Roberts and filmmaker Luca Guadagnino faced pointed questions about complicity and undermining the feminist movement at a news conference for \u201cAfter the Hunt\u201d at the\u00a0Venice Film Festival. Gian Mattia D’Alberto \u2013 LaPresse\/Shutterstock<\/span><\/figcaption><\/figure>\n\u201cI don\u2019t necessarily think it revives an old argument of women being pitted against one another,\u201d Roberts said.<\/p>\n
\u201cAfter the Hunt\u201d screened Thursday night for press and industry before its premiere Friday evening. Though reviews are embargoed until the world premiere begins, it\u2019s already sparking debate around the festival.<\/p>\n\n<\/aside>\nFor Roberts, who joked that she loved \u201cthe softball questions early in the morning,\u201d the point is the conversations the film provokes. The tagline on the poster even reads \u201cnot everything is supposed to make you feel comfortable.\u201d<\/p>\n
\u201cThat\u2019s how we wanted it to feel,\u201d Roberts said. \u201cEveryone comes out with all these different feelings and emotions and points of views. And you realize what you believe in strongly and what your convictions are because we stir it all up for you. So, you\u2019re welcome.\u201d<\/p>\nOne reporter asked Roberts if she thought the film undermines the feminist movement and progress of the #MeToo movement. Marechal Aurore\/ABACA\/Shutterstock<\/span><\/figcaption><\/figure>\nFor Roberts, the point is the conversations the film provokes, she says. The tagline on the poster even reads \u201cnot everything is supposed to make you feel comfortable.\u201d Luca Carlino\/NurPhoto\/Shutterstock<\/span><\/figcaption><\/figure>\nGuadagnino jumped in as well, saying, \u201cIt\u2019s how we see the clash of truths. It\u2019s not about making a manifesto to revive old fashioned values.\u201d<\/p>\n
Roberts added that they\u2019re not making statements with \u201cAfter the Hunt.\u201d Rather, she likes to think of it like a camera dropped out of the sky to capture these characters in this thorny moment where everyone seems to be lying to themselves and to others.<\/p>\n
\u201cWe\u2019re kind of losing the art of conversation in humanity right now,\u201d Roberts said. \u201cIf making this movie does anything, getting everyone to talk to each other is the most exciting thing we could accomplish.\u201d<\/p>\n(L-R) Michael Stuhlbarg, Ayo Edebiri, Julia Roberts, Chlo\u00eb Sevigny, and Andrew Garfield attend the \u201cAfter The Hunt\u201d photocall during the 82nd International Venice Film Festival, on August 29, 2025. Gian Mattia D’Alberto \u2013 LaPresse\/Shutterstock<\/span><\/figcaption><\/figure>\nThe film, which Amazon MGM Studios will release in North American theaters on Oct. 10, also uses a familiar-looking font for its opening credits: The Windsor-style typeface made famous by\u00a0Woody Allen\u00a0in some of his most famous films, from \u201cAnnie Hall\u201d to \u201cCrimes and Misdemeanors.\u201d When asked why he chose this, Guadagnino said the crass answer is, \u201cWhy not?\u201d<\/p>\n
Guadagnino did elaborate on this choice, saying that when he and his collaborators were putting \u201cAfter the Hunt\u201d together, they couldn\u2019t stop thinking about how linked it felt to the \u201cgreat oeuvre of Woody Allen\u201d between the years of 1985 and 1991.<\/p>\n
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