We frequently perceive ourselves as the protagonists of our narratives, but this outlook necessitates an antagonist. This viewpoint can turn perilous when intertwined with bias, suspicion, and a craving for affirmation. From these sentiments arises The Saviors, an intelligent genre thriller that holds depth beneath its surface.
In the vein of eavesdropping thrillers such as Rear Window and The ‘Burbs, The Saviors begins with a middle-aged white man who has an abundance of free time. In a quintessential suburban American town, Sean Harrison (portrayed by Adam Scott) is jobless and on the brink of divorce from his spouse, Kim (Danielle Deadwyler). He yearns for meaning and encounters Muslim siblings Amir (Theo Rossi) and Jahan (Nazanin Boniadi), who are leasing the Harrisons’ guest house. When Sean spots peculiar incidents following their arrival, his suspicions begin to center on the guest house.
What ensues is a thought-provoking narrative infused with humor and a conclusion that beckons a second viewing.
The Saviors merges sci-fi eeriness with comedic paranoia.
Co-penned by Travis Betz and Kevin Hamedani, and helmed by Hamedani, The Saviors opens with a surreal dream sequence. Sean and Kim awaken in an immaculate bedroom, exchanging endearing words reminiscent of a Nancy Meyers romantic comedy. An odd noise interrupts their tranquility.
Without warning, the mood shifts to one of dread. Sean is injured, the future appears uncertain and menacing, and then he truly awakens on the couch, aggravating his wife, who is readying to greet their Airbnb guests.
Amir and Jahan, dressed smartly, exhibit politeness and warmth, expressing gratitude for their accommodations. Jahan extols Sean’s culinary skills through sign language, her smile brightening with the aroma of his chili. During their dinner, Sean notices certain comments are peculiar, such as their ignorance of crickets. A hummed tune (“Seven Nation Army”) leads him to doubt Jahan’s claimed deafness. Then come tremors and unexplainable green lights penetrating their windows, creating a Twilight Zone vibe.
Sean is reluctant to share his thoughts with his wife, who finds him absurd, or his parents (Colleen Camp and Ron Perlman), who are absorbed in conspiracy theories. His sister, Cleo (Kate Berlant), exacerbates his paranoia. After all, the president is visiting their town, close to Sean and Kim’s residence.
Initially skeptical, Kim becomes apprehensive about their visitors as television news reports highlight heightened security and terrorist threats. The couple transforms into amateur sleuths, reigniting their connection and intimacy, but at what price?
The Saviors presents a thought-provoking parable without being moralizing.
Hamedani addresses contemporary American politics with nuance. While steering clear of real politicians’ names, characters converse about neo-Nazism, Islamophobia, and white privilege, particularly in suburban settings. The film avoids feeling like a didactic lesson, propelled by the central enigma: What are the guests planning?
Some hints appear odd but innocuous. A second act segment revealing what Sean and Kim are oblivious to challenges the audience to align with Sean’s concerns. The film aligns with his viewpoint, positioning him as the hero of The Saviors. Yet, the narrative would be tedious if everything were as it appears. Even if you suspect this, the sci-fi twists are unforeseen. I was astonished and pleased by the surprising developments. Confident I had unraveled the mystery, I was mistaken, leading to a rewatch to discern where I, like Sean and Kim, misstepped.
The initial viewing of The Saviors is a robust genre thriller. The seemingly straightforward tale revolves around a couple disrupted by boredom, rekindled through voyeurism and paranoia. Sci-fi elements such as eerie illuminations, bizarre gadgets, and enigmatic visitors elevate the stakes from divorce to life and death. Our imaginations are captivated by exotic features, neglecting domestic warning signs.
Like an exceptional whodunit, The Saviors reveals more upon contemplation, with clues overlooked at first. The narrative evolves as our comprehension of Amir and Jahan deepens. Essentially, you experience two films in one by rewatching The Saviors. The performances work both ways, with scenes swinging from humorous to threatening and vice versa, all contingent on perspective.
A highlight from SXSW, The Saviors is a remarkable achievement. Hamedani and his team create a film that’s part dark comedy, part sci-fi thriller, part cautionary tale, yet never convoluted. Expertly directed and acted, The Saviors