Italian film director Luca Guadagnino has steadily carved out his place in the cultural zeitgeist, releasing four films in just three years. The 54-year-old director has exhibited a keen interest in creating boldly passionate films whose authentically imperfect characters establish emotional complexity in the stories they inhabit. After releasing two films last year — the culturally phenomenological “Challengers” and not-so-popular, but striking “Queer” — the director has returned with crime drama “After the Hunt.”

While the genre is a bit new for him, the film’s core elements do not stray from the directorial identity Guadagnino has developed for himself. The characters’ dialogue and chemistry establish a sense of longevity, making it feel as if viewers are just peering into their lives for a moment. His attention to physical scene-setting is stronger than ever — a brief birds-eye glimpse at a table harboring two used cups reveals a disheartening turn of events (you’ll understand if you see the movie). All this and more is true of “After the Hunt’s” qualities.

Possibly the most compelling aspect of the film’s credits is its powerhouse central ensemble of actors. But Julia Roberts, Ayo Edebiri and Andrew Garfield are not merely vessels for drawing attention to the film. Rather, they bring to life Guadagnino’s perception of disturbingly raw studies of character that make his films so emotionally engaging.

“After the Hunt” centers around a Yale professor, Alma (Roberts), who finds herself caught in a personal and professional dilemma when one of her graduate students, Maggie (Edebiri), accuses a fellow Yale colleague, Hank (Garfield), of sexual assault. When Maggie turns to Alma for her support and testimony, Alma struggles with how to proceed given her romantic involvement with Hank and her professional aspirations that lie within reach.

While the film’s writing and composition are undoubtedly respectable, what stands out miles beyond any other formal element are the performances. Roberts, Edebiri and Garfield are fantastic on their own, but witnessing the on-screen electric chemistry between all three was what left me still thinking about the story once I was driving home from the theater. As my roommate put it, some films you watch and all you can see is the acting, and I don’t mean that in a good way. The performances in “After the Hunt” make you feel like you’re a fly on the wall of a Yale lecture room, and you’re about to be given a philosophical lesson on morality with really big words you don’t understand.

I was particularly drawn into any scene between just Roberts and Garfield. Though Alma is married, she and Hank share a romantic relationship (there’s that often unnecessary eroticism Guadagingo loves to incorporate into his films). Roberts and Garfield share a scene at a diner where Hank is telling Alma that Maggie’s accusations toward him are unfounded. Garfield, who is typically effortlessly charming, comes off as absolutely repulsive with his incessant smacking on a chicken wing while he spews his “men are the victims and can’t do anything these days” defense. Truly top-notch work.

Buzz permeates the film critic sphere about this film being a critical commentary on the #MeToo movement, but as Guadagnino said himself, these comparisons are lazy, not to mention they date the film. To reduce “After the Hunt” to a criticism of a single era-defining movement would mean bogging down the intricacies that make this story so fascinating.

Also, solidifying the film to represent a singular topic or theme would be a brutal oversight and a disservice to the writing, which falls just short of genius.

“After the Hunt” communicates some fascinating themes that are incredibly timely in the societal climate today. Alma and Maggie represent how different generations deal with trauma and pain. Maggie’s character, a Black student who comes from a well-connected and wealthy family, communicates a Gen Z-specific need for individuality and validation, as she plagiarizes her dissertation in hopes to impress Alma. The unfolding of these themes throughout the narrative made for a very engaging film, but the combination of them all within such a confined ensemble of characters made for a bit of a messy delivery. Not to mention, Maggie’s romantic infatuation with Alma — once again, Guadagnino’s signature eroticism — complicated and muddled the fascinating themes being conveyed about generational differences and individuality.

Still, “After the Hunt” is worth a watch. Though messy at times, it explores timely themes in a way that doesn’t make your eyes roll. It touches on the juxtaposition between what happens when you face your trauma head on and when you keep it buried for decades. Roberts and Garfield are highlights, taking on vicious and self-interested personas that are new to them and incredibly satisfying to watch from an audience perspective.

With each intensely emotional and passionate story Guadagnino brings to life, he appears to be emboldened to go further with the thematic intricacies and character complexities. With “After the Hunt’s” stellar performances and relevant internal and external conflicts, Guadagnino proves he’s not just a momentary auteur but a filmmaker with much more to say — and the artistry to keep saying it.