Sometimes “main character energy” is the real villain.
We often see ourselves as the heroes of our own stories. However, this perspective necessitates a villain, which can become harmful when mixed with our own biases, fears, and desires for validation. From this mixture emerges “The Saviors,” a clever genre thriller that offers much to ponder beneath its intriguing surface.
Inspired by thrillers centered around eavesdropping like “Rear Window” and “The ‘Burbs,” “The Saviors” starts with Sean Harrison (played by Adam Scott), a middle-aged white man, unemployed and on the brink of divorce from his wife, Kim (Danielle Deadwyler). Residing in an ordinary suburban town, he encounters Muslim siblings Amir (Theo Rossi) and Jahan (Nazanin Boniadi), renting the Harrisons’ guest house. When strange occurrences follow their arrival, Sean becomes suspicious, focusing his wary attention on the guest house.
What unfolds is a provocative narrative infused with humor and a twist ending that calls for an immediate rewatch.
“The Saviors” blends sci-fi eeriness with comedic paranoia.
Co-written by Travis Betz and Kevin Hamedani, and directed by Hamedani, “The Saviors” opens with a surreal dream sequence, depicting Sean and Kim in a serene, white bedroom, exchanging sweet words as if in a romantic film. Their tranquility is disrupted by a peculiar sound, shifting the mood to chaos with Sean bleeding and an uncertain future ahead. Upon waking up from the dream, Sean finds himself on the couch, frustrating Kim, who is ready to welcome the Airbnb guests.
Amir and Jahan arrive, polite and grateful, with Jahan using sign language to compliment Sean’s cooking. However, Sean notices unusual details, like their unfamiliarity with crickets, and questions Jahan’s claimed deafness. Adding to the mystique are tremors shaking their house and mysterious green lights outside. The situation becomes eerily reminiscent of “The Twilight Zone.”
Sean hesitates to express his concerns to Kim, already dismissive of his fears, or his conspiracy-obsessed parents. His sister, Cleo (Kate Berlant), encourages his paranoia, connecting it to a presidential visit nearby. Despite initially dismissing Sean’s theories, Kim becomes uneasy due to media coverage of security threats, drawing her into Sean’s web of suspicion. Their amateur sleuthing rekindles their relationship but raises questions about the cost of their actions.
“The Saviors” delivers an unexpected lesson without being overly didactic.
Hamedani weaves modern American political themes into the narrative without explicit references. Characters candidly discuss neo-Nazis, Islamophobia, and white privilege, especially in suburbia. Yet, these themes are subtly integrated, maintaining a gripping mystery: What are Amir and Jahan planning?
Hints at the siblings’ intentions range from peculiar to innocent, challenging the audience to align with Sean’s perspective as the supposed hero. But as the narrative unfolds, assumptions are turned on their head, surprising viewers with a twist. Just as Sean misjudges, the audience finds their assumptions challenged.
On a first viewing, “The Saviors” stands as a compelling thriller, revolving around a couple revitalized through a spying adventure. Sci-fi elements elevate the stakes beyond personal issues to more existential threats, luring viewers to focus on the fantastical while ignoring everyday warning signs.
Like a classic whodunit, “The Saviors” reveals overlooked clues upon reflection, offering new insights into Amir and Jahan. Consequently, a second viewing transforms the experience, supported by performances that adapt to dual interpretations. Scenes toggling between humor and menace highlight the film’s focus on perspective.
A standout from SXSW, “The Saviors” is a masterful fusion of dark comedy, sci-fi thriller, and cautionary tale. Directed with precision and performed with nuance, it’s a film not to be missed.
Post-premiere at SXSW, “The Saviors” invites audiences to explore its intricacies again and again.