Leave the World Behind Review: Mixing Suspense, Horror, Current Events and Psychological Analysis
Cast: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la Herrold, Kevin Bacon
Director: Sam Esmail
Streaming Platform: Netflix
Filmyhype.com Ratings: 4/5 (four stars)
Leave the World Behind by Sam Esmail is an elegant and disturbing commercial at the end of time and the world, which benefits from excellent writing and a stellar cast. Available on Netflix, starting Friday 8 December. There is no better time than this for apocalyptic films to appeal to the public: now more than ever this kind of story speaks of our deepest fears, of those terrors that – after having gone through a pandemic, various war conflicts, with the climate crisis becoming more and more tangible – as a community we found ourselves trying. It is precisely on the part of us prey to these fears that Sam Esmail’s new film takes hold: the screenwriter of Mr. Robot, adapting the novel of the same name by Rumaan Alam, tells the story of a small group of people who, unexpectedly, find themselves to deal with an imminent apocalypse. The “extraordinary” situation that the protagonists find themselves experiencing becomes an opportunity – as often happens with works of this type – to create a criticism of the society in which we live, talking about themes such as classism, racism, and the widespread dependence on technology, both for adults and for younger people.
It is precisely from a “gone crazy” technology that this story begins, even if the real heart of the story is the human being’s protagonists, and how they react to the shocks of a world that is collapsing. As we will see in this review of The World Behind You, what makes Esmail’s film so convincing are mainly its actors, a cast in great shape – which includes Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la Herrold, and Kevin Bacon – capable of capturing and dragging the viewer. Since it is a story mainly set within the walls of a house, in which the protagonists lay bare and “react” to the imminent disaster, the viewer gets involved in what is happening through the looks, the dialogues, and the outbursts of anger. And this is how we find ourselves together with them, asking ourselves what we would do in a similar situation which, the longer the narrative continues, the less unrealistic and distant from us it seems.
Leave the World Behind Review: The Story Plot
Adaptation of the successful novel of the same name by Rumaan Alam, Leave the World Behind by Sam Esmail immediately distances itself from Alam’s novel, reflecting on the direct contrast, initially ferocious and then increasingly softened by the dramatic dynamics, which is at first distance, but shortly afterward bring closer, between two extremely different families. who, due to a sudden and inexplicable blackout, find themselves having to share the same luxury home, immersed in the countryside of Long Island, without a telephone network and thus direct contact with the outside world. Cynical adman Amanda (Julia Roberts) and warm, friendly college professor Clay played by Ethan Hawke decide to leave New York for an impromptu vacation on the beaches of Long Island.
With them are their children: the teenager Archie (Charlie Evans) and little Rose (Farrah Mackenzie), interested only in finishing her favorite TV series, Friends. Amanda has rented a splendid house near the sea, where the four go immediately after arriving: this is where things start to get strange, a huge oil tanker runs aground a few meters from them, forcing them to hastily interrupt their journey. their afternoon in the sun. Once they return home, they will realize that the home Wi-Fi is not working and that all their devices are unusable. Not bad, the forced isolation will allow him to enjoy the time spent together even more. But things take an even more unexpected turn when a man, GH Scott (Mahershala Ali), and his daughter Ruth (Myha’la), introducing themselves as those who rented the house to Amanda, ask to spend the next night there. that a sudden blackout threw New York into panic, Amanda and Clay welcomed them into their home and soon, the group realized that there was something behind what hit the city, but also the reason why the Wi-Fi and even satellite phones stopped working. far more terrifying than they could have ever imagined…
Leave the World Behind Review and Analysis
Sam Esmail, screenwriter, and director behind the adaptation of the novel, decides to build a decidedly more complex and complete story, starting from the excellent foundations of the novel and keeping those sensations of growing suspense intact. If the novel focused more on the psychological part, Esmail’s film plays more with the horror of the staging, adding completely new scenes that enrich the literary narrative. Esmail modifies some characters, adds others, and adds situations from a classic film “About the End of the World” maintaining that directorial poetics typical of his style. The director and creator of Mr. Robot, one of the contemporary series that boasts excellent staging and direction, returns as the mind behind this ambitious project, realizing it in the most personal way possible, with a style perfect for the subject matter narrated.
In this way, direction is not just a simple staging, but how the film is perceived, or rather, how the director wants it to be perceived. A formal style that passes from a soft direction to crooked, disorienting shots, accompanied by a strident soundtrack. Long shots alternate with close-ups that emphasize the emotions of the protagonists, the scenes of real suspense are long and all focus on a specific climax. There is therefore no shortage of catastrophic scenes always created to form and staged, making everything appear extremely elegant and studied down to the smallest detail. The film is divided into five chapters, each of which delves into a specific moment, from the beginning of the holiday onwards, with the ending being iconic. Despite some narrative speedups and little in-depth twists, the screenplay remains of a good standard throughout its length, even where there seem to be some not entirely coherent tricks.
The second time Julia Roberts was in the company of Sam Esmail, the two had already collaborated on the Prime Video TV series Homecoming, about the aftermath of the war in Vietnam. Roberts always manages to give her best in dramatic roles and is truly as convincing as Amanda. At her side is Ethan Hawke in the role of her husband Clay, not memorable but an excellent supporting character. Excellent performances and roles by Mahershala Ali and Myha’la respectively in GH as she and her daughter Ruth, the owners of the holiday home where Clay and Amanda will go. The cast also features a fun cameo by Kevin Bacon. The children of the Amanda/Clay couple are well explored,: Archie and little Rose, a child obsessed with TV series, a detail not to be underestimated…
Leave the World Behind is an excellent film about the current “end of the world” and is extremely studied and detailed in its staging. A star-studded cast directed by Sam Esmail who has always shown his skill behind the camera, here also as the screenwriter of a bestselling novel of the same name. Mixing suspense, horror, current events, and psychological analysis, unlike the original novel it focuses more on action than on the characters’ introspection. Still, the result is one of the best films of recent years on the theme of the “end of the world”. Passing through the narrative register of sci-fi cinema, horror, social drama, light comedy, and finally post-apocalyptic cinema, Leave the World Behind involves the spectator and its interpreters in a fascinating, complex, and enigmatic game of glances, unspoken. Very current socio-political implications, intended to observe the consequences of sudden chaos, on the skin, minds, and bodies of individuals so distant from each other that they collide even in conditions of absolute normality.
Again, as we mentioned previously, what is most convincing about Leave the World Behind are the interpretations of the protagonists, both taken individually and in how they adapt to each other. Julia Roberts is – unexpectedly – perfect in the role of a cynical and suspicious mother, while Ethan Hawke succeeds very well in the role of the father-friend, an intellectual who (despite teaching communications at the University) declares himself not very interested in the world of technology and digital. However, these characteristics of their personality are never completely predominant, they do not transform them into two-dimensional characters, and each of the two shows, as the story continues, different layers and an increasingly greater emotional richness.
What is most striking, however, is the character of Mahershala Ali, extremely affable and charming and who, despite himself, finds himself a guest in his own home; Ali with his Gh is once again capable of stealing the show. It is obviously through his character that themes such as racism and classism emerge in the screenplay. It is no coincidence that when Amanda expresses her doubts about letting GH and her daughter enter the house, one of the first things she says is: “Maybe they know the house so well because they work there as servants.” And here Jordan Peele comes to mind when with his Get Out he lashed out against that liberal and falsely open and tolerant America: obviously, the premises in this case are completely different, but it is clear how Clay and especially Amanda are strange to each other (and are difficult to digest) the work success and wealth of a – black – man like GH.
Sam Esmail’s direction uses unexpected camera movements (we often find ourselves “upside down”, reversing the perspective) and decentralized and asymmetric shots to further highlight the “abnormal” and terrifying situation in which the protagonists find themselves. Esmail takes us inside his story, we “feel” with great clarity what the protagonists feel and, however absurd, some of their reactions end up seeming more natural than ever: the perfect example is the narrative arc of little Rose, who amid the ongoing disaster finds a way to end his heartfelt series. Not comparing the situations, but how many of us take refuge, during the most difficult moments, in the comfort of a known and loved TV product?
The World Behind You Review: The Last Words
Leave the World Behind is an excellent film about the current “end of the world” and is extremely studied and detailed in its staging. A star-studded cast directed by Sam Esmail who has always shown his skill behind the camera, here also as the screenwriter of a bestselling novel of the same name. Mixing suspense, horror, current events, and psychological analysis, unlike the original novel it focuses more on action than on the characters’ introspection. Still, the result is one of the best films of recent years on the theme of the “end of the world”. Leave the World Behind tells of a realistic, “near” end of the world, and therefore even more terrifying. Among the film’s merits are a solid screenplay, Sam Esmail’s inspired direction, and a cast of great performers.
Leave the World Behind Review: Mixing Suspense, Horror, Current Events and Psychological Analysis - Filmyhype
Director: Sam Esmail
Date Created: 2023-12-08 17:04
4
Pros
- Superb performances: The film is anchored by powerful performances from its four leads. Roberts and Ali deliver nuanced portrayals of a couple grappling with their own anxieties and privilege, while Hawke and Herrold bring a sense of mystery and intrigue to their characters.
- Masterful direction: Esmail creates a slow-burning atmosphere of tension that effectively builds suspense throughout the film. He uses long takes and close-ups to draw viewers into the characters' emotional states, creating an immersive and unsettling experience.
- Thought-provoking themes: The film explores themes of class, race, privilege, and survival in a way that is both timely and relevant. It asks viewers to question their own assumptions and biases in the face of a crisis, prompting introspection and discussion.
Cons
- Slow pacing: While the deliberate pace contributes to the film's atmosphere, some viewers might find it to be too slow-moving.
- Ambiguity: The film's lack of concrete answers about the nature of the crisis might leave some viewers feeling frustrated or unsatisfied.
- Limited action: The film primarily focuses on character development and psychological drama, with minimal action sequences. This might not appeal to viewers who are looking for a more fast-paced thriller.
