MIFF 2022 Film Review - The Humans
Images courtesy of the Melbourne International Film Festival and A24.
Adapted for the screen from his own play, Stephen Karam's The Humans is a film that seems outwardly familiar - a dramedy about a disjointed family who come together for Thanksgiving dinner - but through meticulous attention to framing, sound design, and atmosphere, becomes a beast all of its own. Taking this standard setup and infusing it with the cold air of post-9/11 New York, Karam's first time directorial efforts are truly worth commendation, thanks in no small part to outstanding performances from an all-star cast that includes Steven Yeun, Beanie Feldstein, Richard Jenkins and Amy Schumer, and haunting cinematography from Lol Crawley.
It's here that Humans' tendency for long, drawn-out takes paired with obtuse framing, using long halls and doorways to block out entire participants, will no doubt prove too distant of an experience for many viewers. This is just one of the artistic decisions that ensure the audience remains constantly aware of the screen separating themselves and the film; rather than the usual immersiveness of cinema, here spectatorship is inherent to the themes of the film. We're in the same position as the characters, who just want to know what's going on with the upstairs neighbours, or who's loitering down in the courtyard. Even the title takes on a more reflective meaning - if we can posit that the central family are indeed the titular Humans, then what does that make us viewers?
Even those tuned into A24's usual sensibilities should have much to glean from this foray into yet another family dynamic rife with understated trauma and deteriorating mental health. The glacial horror movie vibes are palpable, and one could be forgiven for expecting a shoe-drop moment where the machinations of a demon-worshipping cult are suddenly revealed. Instead, The Humans explores faith in other ways - like the hypocrisy of those who tout their devotion to traditional Christian values, and how moments of crisis can drive someone to sudden bouts of religious acceptance. It's refreshing to see some restraint in a movie that still isn't afraid to get weird; ironic how A24 went from making horror movies that replaced jump scares with explorations of grief, to making a drama that has a bunch of jump scares.
Considering its origins on the stage and its minimalist narrative trappings, along with the film being a directorial debut, I had wondered how The Humans would even translate to the silver screen. In the end, though, through all of its quirks and experimentations, Karam has crafted something that speaks not just to every millennial who's had to justify to their parents why they chose to live in a crappy city apartment, but also to the innate curiosity, awkwardness, and disappointment that comes from trying to understand and relate to the innate workings of our fellow human beings.
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The Humans is screening as part of the Melbourne International Film Festival, running in cinemas August 4-21 and online August 11-28. For tickets and more info, click here.