Released on May 16, 2025, Hurry Up Tomorrow is a psychological thriller that delves into the dark, introspective world of music superstar Abel Tesfaye, widely known as The Weeknd. Directed by Trey Edward Shults (Waves, It Comes at Night) and co-written by Shults, Tesfaye, and Reza Fahim, this Lionsgate Films distribution serves as a companion piece to Tesfaye's album of the same name. The film stars Tesfaye himself in his first leading feature role, alongside Jenna Ortega as the mysterious Anima and Barry Keoghan as his manager, Lee. The plot follows Tesfaye's character, a musician grappling with severe depression and muscle tension dysphonia, as he's pulled into a surreal odyssey after a chance encounter with Anima, a woman who appears to be involved in a string of arsons. Positioned as Tesfaye's "final bow as The Weeknd," the film is less a traditional franchise entry and more a profound artistic statement, exploring the psyche behind the global phenomenon before his supposed transition to a new creative identity.
Genre:Thriller
Hurry Up Tomorrow is a film deeply entrenched in the artistic world of its star, Abel Tesfaye, offering a raw, at times uncomfortable, glimpse into the anxieties and pressures that come with global superstardom. It’s a psychological thriller that aims to be as ambiguous and layered as the music it accompanies, inviting viewers into a disorienting journey through the mind of a musician on the brink. Director Trey Edward Shults, known for his intense character studies and atmospheric thrillers, brings his distinctive visual flair to this highly personal project, crafting a film that is visually striking even when its narrative falters.
The plot kicks off with Abel Tesfaye, in a fictionalized version of himself, already deep in the throes of depression despite his massive success. His manager, Lee, tries to push him, but Abel's struggles are compounded by a diagnosis of muscle tension dysphonia, threatening his ability to perform. His growing despair over a past relationship leads him to leave a bitter voicemail for his ex, setting a tone of regret and self-blame. It's during this chaotic period that he encounters Anima (Jenna Ortega), a mysterious woman whose presence is tied to recent arson incidents. Their surreal night together, wandering through Pacific Park and sharing intimate, unsettling moments, forms the core of the film's exploration into Abel’s deteriorating mental state and his perception of reality.
Abel Tesfaye’s performance as a fictionalized version of himself is central to the film’s impact. He portrays the artist as a man consumed by his inner demons, often silent and brooding, allowing his melancholic presence to speak volumes. For fans of The Weeknd’s music, this offers a unique window into the emotional landscape that fuels his art. Jenna Ortega, as Anima, delivers a captivating performance, embodying a character who is both enigmatic and unsettling, serving as a catalyst for Abel’s spiraling odyssey. Her ability to shift from alluring to aggressive keeps the audience on edge, mirroring the film's own tonal instability. Barry Keoghan, as Lee, provides a compelling counterpart, a manager whose concern for Abel seems perpetually intertwined with the demands of the music industry.
However, Hurry Up Tomorrow is not without its significant criticisms. Many reviewers have found the film to be deeply "self-indulgent" and "egomaniacal," acting more as an "extended music video" for Tesfaye's album than a standalone cinematic work. The narrative, while attempting to be profound, often loses itself in "navel-gazing" and a deliberately ambiguous structure that can frustrate viewers looking for clear answers. The film's reliance on "spinning camera angles" and a "cacophony of pounding music, a mixture of lights and blurred images" creates an overwhelming aesthetic that, while sometimes hypnotic, can also feel tiresome and gratuitous, as if "every possible art film camera angle and effect" was thrown into the mix.
Trey Edward Shults's directorial style is undeniable, with moments of "exquisite" cinematography and a clear artistic vision. The film "flirts with greatness," particularly in its ability to create a mood of isolation and vulnerability. It obliquely references "great works from the pantheon of cinematic madness" such as The Shining, Misery, and American Psycho, paying homage to its influences. Yet, some argue that these allusions ultimately make the film feel like "an exquisite corpse of borrowed motifs and imagery," struggling to assert its own unique identity beyond its connection to Tesfaye's persona.
The film's exploration of themes like depression, addiction, and the corrosive effects of fame is certainly ambitious. It positions itself as a "dark night of the soul" for The Weeknd, signaling his desire to transition from the moniker that brought him fame to a more holistic artistic approach under his given name, Abel Tesfaye. Despite its flaws, Hurry Up Tomorrow is undeniably a "passion project" for Tesfaye, and his performance, while polarizing, is often seen as a step up from his previous acting endeavors. For those deeply invested in The Weeknd's artistic evolution, the film offers a challenging but potentially rewarding experience, providing context and emotional depth to his musical journey.
In conclusion, Hurry Up Tomorrow is a film that will likely divide audiences. For fans of The Weeknd, particularly those familiar with his recent album, it offers a visually striking and deeply personal companion piece, rich with the artist's signature moody aesthetic. For a broader audience, its deliberate ambiguity, slow pacing, and perceived self-indulgence might prove alienating. While it attempts to delve into the profound psychological turmoil of its protagonist, it often prioritizes style over substance, resulting in a work that, while visually stimulating, struggles to leave a lasting narrative impression. It is a bold, albeit flawed, artistic experiment that marks a significant moment in Abel Tesfaye's career, but one that perhaps resonates most strongly with those already attuned to his unique frequency.