During coverage of any film festival, last-minute changes are common due to accumulated fatigue or sudden new screenings for more anticipated movies. The Holdovers was on my original daily watchlist, but if I had managed to win a public ticket drawn for May December, I would most likely have chosen to watch the latter for the simple reason that it caught my attention a bit more. In the end, Alexander Payne (Downsizing) and especially David Hemingson (Whiskey Cavalier) made me regret having even thought about missing one of the best films of the year…

The Holdovers Critique

Also Read: Poor Things Venice Film Festival Review

There’s no more rewarding, genuinely satisfying feeling than leaving the theater with expectations completely obliterated, jaw on the floor, and hands red from clapping so much. The Holdovers‘ premise itself doesn’t generate much enthusiasm, as it appears to be just “another” Christmas tale about solitary, peculiar, distant people who, when forced to spend time together during this festive, familiar season, help each other heal from the problems that have scarred or still impact their lives.

The Holdovers tells precisely this story, but it’s far from being just “another” flick. It’s true that it doesn’t quite escape the barriers of the genre or even the global conclusion that any more experienced viewer will be able to predict with plenty of time to spare. Nevertheless, Hemingson’s screenplay carries the movie in a truly shocking manner, being one of those narratives that not only becomes more and more complete and detailed as time goes by, but the connection between the audience and the characters strengthens exponentially.

Less than halfway through The Holdovers, a feeling of familiarity emerges, and it’s challenging not to fall into the temptation of thinking that nothing can take us by surprise; that Payne doesn’t have any tricks up his sleeve, nor will Hemingson be able to come up with some kind of revelation or narrative point that will leave viewers speechless. This is where the shock value comes in, as it’s unbelievable how deep the script eventually gets to be, both concerning the overarching story and the respective character arcs. The study of the vital need for human connection to heal our inner wounds is nothing short of emotionally overwhelming.

Professor Paul Hunham (Paul Giamatti), student Angus Tully (Dominic Sessa), and cook Mary Lamb (Da’Vine Joy Randolph) are the flawed protagonists of The Holdovers. Everyone carries traumas from the past that persist heavily in the present and insist on disappearing in order to improve the future. Whether it’s the death of someone they loved, divorced parents, a tough childhood/adolescence, or a lifetime tormented by these same issues plus many others related to bullying, health, and professional career, everyone has something in common… or something that the others wish they had.

Giamatti (Cinderella Man) portrays a teacher with numerous minor health problems but with a visual and olfactory impact on those around him. Hated by everyone due to his strict teaching methods, and his extreme integrity bothers those who try to look out for the “greater good” of the school. Boasts a peculiar personality and a strong interest in ancient history which, naturally, isn’t the most accessible topic of conversation to form new friendships or romantic relationships, leading to a lonely life and a lot of external judgement.

Sessa (feature film debut) takes on the role of a student left behind at Christmas by a family who ignores his tremendous potential. Intelligent and creative, but brutally affected by his family situation and depressing past life events, just like Randolph’s character. The cook lost her husband and son, being forced to live with a feeling of permanent mourning and little reason to look forward to a happy future. These are the circumstances surrounding the protagonists, but The Holdovers brilliantly demonstrates that these don’t have to define them as human beings.

Grief, depression, family separation, loneliness, alcoholic refuge, anger to tolerate sadness… these aren’t just sensitive subject matters thrown on the table and superficially addressed. I have no intention of spoiling the experience for anyone who’s still waiting for the chance to watch The Holdovers, but it’s hard to do justice in words to Hemingson’s wonderful care in taking each character’s arc as far as possible, putting together the individual broken pieces into a joint, divine puzzle, as well as Payne’s excellent tonal balance.

Yes, because The Holdovers is also one of the most hilarious comedies of the year. Brilliantly spaced out through a dark, cold, uncolorful atmosphere – accompanied by a melancholy score by Mark Orton (Nebraska) – it’s possible to find moments of humor as pleasant as hot chocolate and true human joy as comforting as a blanket on a winter’s day. Even cheap insults that would probably be repetitions of one-liners heard in a thousand different films are incredibly imaginative and memorable, causing quite audible laughter. Interestingly enough, it’s the teacher who gets the best lines of dialogue in this area.

Above all, the humanity that emanates from these three protagonists is the characteristic that best defines the movie. At no point in the film did I look at Hunham, Tully, and Lamb as fictional characters. They represent millions of people around the world with remarkable realism devoid of any cinematic, overly dramatic ties. Whether it’s inspiring conversations about the before-mentioned matters or ridiculous sarcastic comments, The Holdovers is always true, genuine… human. And, for this, the performances of the cast contribute a lot, all of them deserving of nominations.

Despite taking its time in the second act, I have no problem stating that The Holdovers will easily become the next big Christmas classic, watched by families of all backgrounds. Personally, it’s very rare to share these types of clickbait phrases. But the truth is that Payne and Hemingson created a work of art that warrants these effusive, cathartic reactions, as the tears induced by the extremely emotional third act prove.

In Conclusion

The Holdovers left me in complete disbelief at how complete, thought-provoking, hilarious, and emotionally powerful it becomes with each extraordinarily captivating minute that passes by. A shockingly faultless screenplay from David Hemingson exponentially attacks the viewers’ hearts through a truly profound yet bittersweet study of the vital need for human connection. Protagonists are brilliantly written as real people and superbly portrayed by an award-worthy cast. Add an immaculate tonal balance and outstanding execution by Alexander Payne, and a new Christmas classic is born.

9/10