Alexander Payne’s latest film, The Holdovers, is a stripped-back triumph of old-school cinema that takes viewers back to the 1970s. After the muted reception to his previous film, Downsizing, Payne returns to basics with this familiar story set during Christmas at a school where students are unable to return home. While it may rely on cliches, The Holdovers showcases Payne’s best form since his Oscar-winning film, Sideways.
The film revolves around Paul Hunham, a strict teacher played by Paul Giamatti, who finds himself stuck at school on babysitting duty. He is supervising a group of students, including the rebellious Angus, portrayed by Dominic Sessa. Despite the initial conflicts, Paul and Angus form a connection, leading to personal growth and self-discovery for both characters.
From the beginning, The Holdovers sets the tone for an old-school cinematic experience. Vintage film logos appear, accompanied by a pop soundtrack that transitions into classical music as the camera moves into Paul’s office. He is a traditionalist who frustrates his colleagues with his refusal to adapt to modern school politics.
Paul’s character might come across as exasperating, but Paul Giamatti’s delicate performance brings warmth and depth to the role. Despite his dismissive nature towards his students, there is a glimpse of genuine care beneath his insults. Giamatti expertly reveals Paul’s vulnerabilities as the audience grows closer to this reserved teacher.
Dominic Sessa, in his screen debut, delivers a superb performance as Angus. He portrays a troubled character who masks his emotional pain with swagger. Despite Angus’ initial standoffishness, Sessa’s natural charm makes him endearing and engaging.
However, it is Da’Vine Joy Randolph’s character, Mary, who becomes the heart of the film. Mourning the loss of her son, who was a student at the school, Mary chooses to stay over Christmas to feel close to him. Her portrayal of grief, particularly during a poignant scene at a Christmas party, is heart-wrenching and likely to leave audiences reaching for their tissues.
The Holdovers explores the theme of found family, as these three strangers come together in the face of their personal challenges. Despite their differences and difficulties, they find comfort and support in each other. The film’s subtle, melancholic grace notes make it a poignant and feel-good experience, balanced between sadness and hope.
The Holdovers had its European premiere at the BFI London Film Festival and is set to release in selected US cinemas on October 27, with a wider release on November 10. UK audiences will have to wait until January 19 to experience this nostalgic and heartwarming tale on the big screen.
