Olivia Wilde’s Stunning ‘The Cut’ Shoot Coincides With ‘The Invite’ Release Date
There is a unique cultural moment that occurs when a filmmaker and their film debut simultaneously, where the press coverage and personal transformation feel genuinely synchronized rather than contrived.
Olivia Wilde is experiencing that moment now, and a new photo spread shot by Chloe Chippendale for The Cut captures it with remarkable clarity. The moody black-and-white images showcase Wilde in a series of thoughtful, commanding looks, exuding the quiet confidence of someone who has spent years preparing for the film she is about to release.
That film is ‘The Invite’, and its context greatly influences how the shoot is perceived. The film premiered at the Eccles Theater during the Sundance Film Festival on January 24, where it garnered positive reviews from critics. The industry’s response has been one of genuine enthusiasm, which is often difficult to achieve.
After a multi-day bidding war that attracted interest from Neon, Netflix, Apple, Searchlight, and Black Bear, A24 ultimately secured the film’s domestic rights for over $12 million, outpacing Focus Features in the final round.
The film is a comedy directed by Wilde and penned by Will McCormack and Rashida Jones, serving as an English-language remake of the Spanish film ‘The People Upstairs’ by Cesc Gay. It features Wilde alongside Seth Rogen, Penélope Cruz, and Edward Norton. The premise is deceptively simple: two couples, one dinner party, and a night that gradually spirals into chaos. Critics note that the execution is anything but straightforward.
On Rotten Tomatoes, the film boasts a 92% approval rating from critics, with an average score of 7.5 out of 10. Metacritic has assigned it a score of 77 out of 100, indicating generally favorable reviews.

What makes ‘The Invite’ particularly intriguing as a directorial project is what Wilde has been working with and how candidly she has discussed it. In a behind-the-scenes featurette released by A24, Wilde remarked about her cast, “You can’t imagine what a gift it is for any director to have a cast who is so completely engaged at all times.” The sentiment is reciprocated. During a closing Q&A after the Sundance premiere, Edward Norton stated, “It’s hard for me to overstate the grace and wisdom with which Olivia gave that performance and directed us.”
The film features Rogen as Joe and Wilde as Angela, with Cruz as Piña and Norton as Hawk. Behind the scenes, cinematography is managed by Adam Newport-Berra, editing by Yorgos Mavropsaridis and Anthony Boys, and a score composed by Devonté Hynes. The production is assembled with exceptional care, and the reviews suggest that this attention to detail is evident.
The Chippendale shoot for The Cut arrives at a crucial moment in Wilde’s career as a filmmaker. ‘Booksmart’ established her as a director to watch. ‘Don’t Worry Darling’ created significant buzz, some of it surrounding the film and some of it decidedly not.
‘The Invite’ feels like the chapter where the noise subsides and the work speaks for itself. In recent press engagements, Wilde addressed the risks involved in serious filmmaking, stating, “I think a huge problem with our business is when you conflate filmmaking or acting with fame or with large-scale acceptance, you immediately cut off every opportunity to do any risky work.”
The film was shot in just 23 days, in chronological order, a choice that reflects the intimacy and precision Wilde brought to the production. It is also dedicated to Diane Keaton. That dedication, to a filmmaker and actress who has built a career on intelligent, adult comedies with emotional depth, feels like a statement of intent.
The film opens in select theaters on June 26, before expanding nationwide on July 10. The black-and-white portraits for The Cut, serious and self-assured, seem like the perfect visual accompaniment for that release. This is not the promotional rollout of someone selling spectacle; it is a filmmaker stepping into her own, one frame at a time.
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