We all tend to imagine ourselves as the hero of our stories. The trouble with that is it requires someone to be the villain. That way of thinking can get dangerous when tumbled into our personal wells of prejudice, paranoia, and need for validation. From this well of mind-bending emotions springs The Saviors, a clever genre thriller with a lot to say beneath its slippery surface.
Following in the footsteps of eavesdropping-centric thrillers like Rear Window and The ‘Burbs, The Saviors begins with a middle-aged white man with too much time on his hands. In an average suburban American town, Sean Harrison (a smartly cast Adam Scott) is unemployed and on the verge of divorce from his wife, Kim (Till‘s Danielle Deadwyler). He’s hungry for a purpose when he meets Muslim siblings Amir (Theo Rossi) and Jahan (Nazanin Boniadi), who are renting the Harrisons’ guest house for a few days. So, when Sean notices some strange things around his home after their arrival, his suspicious eye travels to the guest house’s door.
What follows is a provocative tale with a sharp sense of humor and an ending that’ll make you want to watch it again — immediately.
The Saviors blends sci-fi spookiness with comic paranoia.
Co-written by Travis Betz and Kevin Hamedani, and directed by the latter, The Saviors begins with a trippy dream sequence. Sean and Kim awake in a crisp, white bedroom, whispering sweet nothings to each other as if this were the final act of a Nancy Meyers rom-com. Then a strange sound draws them away from the bliss of their bed.
In the blink of an eye, the tone shifts from serene to panicked. Sean is bleeding. The future is uncertain and threatening, and then he wakes up for real. This time he’s on the couch. He’s rumpled, real, and really annoying his wife, who’s readied herself to welcome their Airbnb guests to the house out back.
Dressed primly, Amir and Jahan are polite and warm, expressing appreciation for two strangers giving them space in their home. Through sign language, Jahan praises Sean’s cooking, the smell of his chili lighting up her face with a broad smile. But as they share a meal, Sean finds some of their comments strange, like their unfamiliarity with the sound of crickets. Soon, a hummed melody (“Seven Nation Army”) spurs him to suspect Jahan isn’t deaf as her brother claims. Then there are the tremors that shake their house, and the inexplicable green lights that suddenly pierce their windows. Things are getting undeniably strange, in a Twilight Zone way.
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Still, Sean’s uneasy about broaching the topic with a wife who already finds him ridiculous. But neither does he want to confide in his parents (Colleen Camp and Ron Perlman), who’ve fallen down a right-wing conspiracy rabbit hole. His construction worker sister, Cleo (Kate Berlant) isn’t much better, and eagerly fans the flames of Sean’s paranoia. After all, isn’t the president coming to their cozy town for a visit? And isn’t he visiting a landmark near Sean and Kim’s home?
While Kim initially dismisses Sean’s suspicions, demanding he think outside his “white bubble,” TV news hums about increased security and fear of terrorist threats. Before long, she too grows nervous about their guests. From there, the couple plays amateur spies, and the adventure of it all has reignited their connection — and their sex lives. But at what cost?
The Saviors delivers a surprising parable without getting preachy.
Hamedani doesn’t shy away from modern American politics through ambiguity. Though he avoids dropping the names of real politicians, his characters speak frankly about neo-Nazis, Islamophobia, and white privilege — particularly when it comes to life in suburbia. Yet, the film never veers into feeling like a lecture, because of the propulsive thrust of its central mystery: What are these guests up to?
Some clues are strange, but potentially innocuous. However, a second act sequence that reveals a peek into what even Sean and Kim can’t see dares the audience to buy into Sean’s suspicions. After all, the film is bound to his perspective, setting him up as the hero of The Saviors. But this movie would be boring if things weren’t what they seem. Still, even if you’d guessed that, I doubt you’ll predict where Hamedani and Betz’s sci-fi story winds up. I was not just surprised, but elated to be surprised. Watching the clues stack up, I was confident — cocky, even — that I’d unlocked the mystery that The Saviors ticks down to in its climax. I was wrong, and so I wanted to see The Saviors again to see where I, like Sean and Kim, went wrong.
The first time through The Saviors works as a solid genre thriller. The deceptively simple story is about a couple torn apart by ennui, but reunited through an adventure built on voyeurism and paranoia. But the sci-fi flourishes of unworldly glows, bizarre devices, and mysterious visitors heighten the stakes beyond divorce to life and death. Our imaginations are tantalized, enticing us to seek out exotic elements, and thereby ignoring more domestic red flags.
Like a great whodunnit, The Saviors opens up on reflection, blooming with the clues we overlooked the first time. The story shifts as our understanding of Amir and Jahan has. So, in a sense, you get two movies in one, just by watching The Saviors a second time. Better yet, the performances work both ways. All four leads — Scott, Deadwyler, Rossi, and Boniadi — are tasked with playing performances that work in two contexts. Some scenes that were once funny, flip to become menacing, and vice versa. It’s all about perspective.
A true find out of SXSW, The Saviors is a marvel. Hamedani and company have carefully constructed a film that’s part dark comedy, part sci-fi thriller, part cautionary tale. And yet for all this, it never feels muddled or messy. Keenly helmed and sharply performed, The Saviors is a must-see.
The Saviors was reviewed out of its world premiere at SXSW.
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