In 2019, Olivia Wilde, who has played a major role in cinema over the past decade and change, released her first feature film as a solo director, “Booksmart.” This film was a A much-loved, smart, charming and versatile gem of a high school coming-of-age comedy. This demonstrated that Wilde could create entertainment that appealed to audiences, but was still progressive and decidedly female-centered, both in its protagonists and its themes. Its success contributed to the release of several subsequent films carrying this torch, including “Bottoms” and “My Old Ass.” “Booksmart” introduced Wilde not only as someone who could competently direct a film, but also as an exciting new author to watch.
Unfortunately, Wilde was hit pretty hard by the slump his sophomore year. As so many tough sophomore efforts tend to go, 2022’s “Don’t Worry Darling” was ambitious from the start, telling the complex story of an industrial town in the 1950s that harbored insidious, misogynistic and even deadly secrets. However the film had imagination and hearthis science fiction story relied on a third act revelation that, according to Hoai-Tran Bui’s review for /Filmtook far too long to fall. It also suffered from a terrible press cycle based on numerous allegations of conflict on setbecoming fodder for gossip mongers on social media.
Today, four years later, Wilde is making his comeback to directing. His third feature, “The Invite,” premiered last weekend at the Sundance Film Festival, and its reception was so enthusiastic that it sparked an intense bidding war that just ended. Now that A24 is set to distribute “The Invite” this year, let me assure you that the film is truly spectacular. This is not only a victory for Wilde, but also for everyone interested in intelligent, witty comedies aimed at adults.
Wilde chooses proven material with The Invite
Olivia Wilde’s smart choices with “The Invite” begin with her decision to adapt the film’s source material in the first place. Unlike “Don’t Worry Darling,” which began life as a blacklisted screenplay (which usually, but not always, acts as a mark of quality), “The Invite” is based on the 2020 Spanish film “The People Upstairs,” aka “Sentimental.” This film was based on a play by Cesc Gay called “Los vecinos de arriba” and was nominated for several Goya awards. “Sentimental” caused enough of a stir that it has been remade once a year since 2022 in various countries, including Italy, France and South Korea. “The Invite” is America’s turn, and it’s in good hands with Wilde.
The film, essentially based on a play, takes place one eventful night at the home of a San Francisco couple, Angela (Wilde) and Joe (Seth Rogen). Angela has invited upstairs neighbors Pina (Penelope Cruz) and Hawk (Edward Norton) over for dinner, which Joe is not thrilled about given his resentment towards them for their late-night sexcapades that he and Angela can hear through their walls. It’s clear that Angela and Joe also have myriad issues as a couple, as their bickering is fast, furious and scathing. The dialogue, penned by screenwriters Rashida Jones and Will McCormack, is as witty and wicked as vintage Woody Allen. or the mastermind of SNL, Albert Brooks. Eventually, well into the double date, Pina and Hawk reveal that they have their own invitation to extend, and Wilde’s film degenerates into a dizzyingly hilarious and surprisingly emotional series of social foibles and surprise confessions.
The Invite showcases Wilde’s chops in front of and behind the camera
Olivia Wilde is an actor’s director: she knows talent and gives them the space they need to soar. As Joe, Seth Rogen uses his Judd Apatow heritage to his full advantage, while Penélope Cruz exudes class and sexuality as only she can with Pina. Edward Norton’s Hawk encapsulates the actor’s unique blend of intelligence and idiosyncratic behavior. Wilde herself is fantastic as Angela; while other directors/actors may be lenient when it comes to starring in their own filmsWilde works overtime to justify his presence on camera here. Angela is a fully realized and indelible character, and it’s easily one of Wilde’s best performances.
Wilde’s efforts behind the camera for “The Invite” are even more impressive. She and editors Yorgos Mavropsaridis and Anthony Boys keep the film’s pace at breakneck speed, supporting the actor’s layered dialogue in a way reminiscent of Vintage Robert Altman. Wilde and cinematographer Adam Newport-Berra do a marvelous job of filming every corner of the apartment without repeating themselves, the space transforming as much as the characters. Wilde also clearly knows the value of a good close-up, and it’s incredible to see her demonstrate it on both sides of the camera.
“The Invite” was one of the best films at Sundance this year, and if A24 plays its cards right, it could be a big hit. The film deserves it for being this good, Wilde deserves it for getting her directing career back on track, and audiences who yearn for more diverse fare at the multiplex deserve it too. Hopefully we all get “The Invite” sooner rather than later.
