New York – It is the last night on tour. The Sofi stadium, on the outskirts of Los Angeles, is full. 80,000 fans are before The Weekndan endless sea of blinding lights. The best -selling artist born Abel Tesfaye emerges on stage. He throws himself to the first song. It passes less than a minute, and the unthinkable happens: your voice breaks. And then he is gone.
That September night in 2022 marked a turning point for Tesfaye. Minea the scene in “Hurry tomorrow, “Where, ironically, it is too late. The tedium of a first incoherent act paints the charismatic interpreter, one of the most popular last decades, as a non -empathic protagonist in a non -linear and not sensitive world.
But how much of the week is here, really? In his first main role in a feature film, directed by Trey Edward Shults, Tesfaye interprets a fictitious version of himself, an insomnia musician (as is explicitly clear in the “Wake Me Up” Leitmotif, where he sings, “Sun is never coming out / I don’t know if it is day or night”). He is tarnished by a recent rupture of a former portrayed in a cruel message of voice mail (“I used to think that you were a good person,” she says) and a hedonistic lifestyle, instigated by her superficial manager of friends Lee, played Barry Keoghan.
Shortly after Tesfaye loses his voice, a psychosomatic ailment, he meets superfan amina, portrayed by Jenna Ortega. She offers temporary comfort and, in return, has no agency. She exists for him. The horrors without inspiration begin, which culminate in what the torture scene in “Reservoir Dogs” With less violence. Instead, Amina, when she is not crying; I urge all spectators to maintain a “shout count” and consider what feminist blogs could say: the lips synchronize some of the greatest successes of the week, explaining that it is “empty and heartbreak.” At all times there is a conversation about absent parents and the fear of abandonment, with not won and acuity delivery of the first draft, something that gesture in depth without drilling the surface.
According to the press materials, Amina and Lee are not real people, but representations of Tesfaye. She is destined to represent the “deepest emotional being” of Tesfaye, and Lee, her public personality. That is not explicitly clear in the film, except in a very generous reading of the end. The subtext only works when there is a context to support it, otherwise, you have to “hurry tomorrow”: an exciting vanity project with surrealist imagination but rigid writing, without stakes, limited emotional weight and an unclear narrative.
That will not be a problem for Superfans, of course, those intimately familiar with Weeknd’s music and career. This film seems to be for them and Tesfaye, a producer, alone; They have the frame to enjoy the execution time. Given that Fandom is the dominant form of popular culture, it is not a bad commercial decision.
And it has worked for him before. This is not Tesfaye’s first incursion into acting. Apart from his Cameo in “Sin Cut” He starred The 2023 HBO series “The Idol. “He co-coated with Sam Levinson, a program that presented a provocation not won in a similar way. At that time,” The idol “received criticism for his sadomasochistic narration that emerged after a change of” the feminine perspective “, supposedly a request of Tesfaye. It was not an intelligent or subsivieted spectacle, it was not even a conversation, but it is an inspired conversation, but it is an inspired conversation, but it is an inspired conversation. similar effects.
At a time where autobiographical films are musicians Playful and creative – Pharrell Williams’ LEGO ASSOCIATION “Piece by piece” It comes to mind, like Robbie Williams ” Best Man “-” Hurry tomorrow “feels like a false step for those who are out of the week.
But what about music? “Hurry tomorrow” is connected to Tesfaye’s last album of the same name – and The final chapter In the record trilogy of the week that began with “After Hours” of 2020 and continued with 2022 “Dawn FM”. The album, the quietest in the series, worked as an allegory in fame trials, a theme covered by the most successful pop suppliers. Retrospectively, it works better as the soundtrack of a film than as an independent, ambitious album. Like the film, it is attributed to the criticisms of the celebrity industrial complex without achieving it. It seems obvious, now, knowing that the movie is prior to the album.
The strength of the distant film is its score, composed of Tesfaye with Daniel Lopatin (better known as the Experimental Musician Onehtrix Point Never and for his “Spree” and scores of “without cutting gems”). It develops from discography and transforms Tesfaye into something physical and psychedelic, in its most euphoric clubby, full of fear and clubby. It is so affected that it almost distracts from the moments of vertiginous cinematography, with the inclination of films by rotating frames, it approaches the upward horizons, blurred vision and erratic lights.
These tools feel more appropriate for a music video, the type of sophisticated visual world that Tesfaye has developed in his pop career. They raise their euphoric dance, in layers and evocative, but do not translate in this film.
“Hurry tomorrow,” a Lionsgate launch is qualified by the Association of Picnogicals for Language at all times, use of drugs, some bloody violence and brief nudity. Execution time: 105 minutes. One of the four stars of four.
