The Sandford family’s vacation didn’t turn out as planned. First there was this cargo ship that crashed onto the beach where Amanda, Clay and their children, Archie and Rose, were lounging. Then, at nightfall, the owner of the house rented by the Sandfords returns unexpectedly, flanked by his daughter, announcing to everyone that the neighboring metropolis is in full swing. blackout. Mysterious thriller with apocalyptic overtones, Leave the World Behind (The world after us) is endowed with a social conscience, but above all is very, very anxious. In the ambient thematic darkness, Julia Roberts and Mahershala Ali shine especially.
Based on a novel by Rumaan Alam, the film was written and directed by Sam Esmail, creator of the excellent series Mr. Robot. As executive producer, Esmail has already collaborated twice with Julia Roberts on the miniseries Homecoming And Gaslitwhere she is great.
Leave the World Behind is worth the detour largely for the performance of the star, who plays Amanda. A self-proclaimed misanthrope, Amanda loves her family fiercely, but that’s all. The rest of the human race, very little for her. Complex, the character will reveal nuances and contradictions in adversity.
A sort of opposite pole, GH, the master of this house played by Mahershala Ali — winner of the Oscar for best supporting actor for Moonlight (Moonlight, the story of a life) and for Green Book (Green’s book) — is kind and full of concern. Really.
In fact, if the film maintains a devilishly effective ambiguity as to the exact nature of the disaster, GH’s noble intentions are quickly established beyond any doubt. This, much to the dismay of his daughter Ruth, a young adult who would happily throw the Sandfords out.
Back to reality
As the specter of a possible end of the world hovers, Leave the World Behind skilfully interweaves, implicitly, a host of concerns: racism (the fact that GH and his daughter are black is not unrelated to the extent of the distrust initially shown by Amanda), social classes (GH is much richer than the Sandfords and let them know during comments “in passing”), ecoanxiety (migratory routes of animals disrupted), absolute human dependence on the Internet and satellites, generational conflict…
This last point comes from little Rose, who rightly declares that no one listens to her. Hence his obsession with situational comedy Friends, his refuge. Besides, Leave the World Behind is not devoid of touches of humor.
We think, for example, of this impromptu dance number that GH and Amanda engage in, with the help of alcohol (Julia Roberts turns out to be particularly generous during this passage). Although, each time, these brief moments of lightness are abruptly interrupted by a terrible return to reality.
Constant anxiety
Technically ambitious, with a profusion of complex camera movements sometimes enhanced by the addition of digital effects, Sam Esmail’s production is often very effective. When it is not, it is due to an excess of flashy procedures. It is also mid-length.
However, the film generates a level of anxiety that is as constant as it is uncomfortable. The contribution of composer Mac Quayle, protégé of veteran Cliff Martinez (collaborator attracted to Steven Soderbergh) and accomplice of Esmail on Mr. Robot, proves to be essential in this respect. Related to horror cinema, with nods to Shining (Shining the light child), his music instills throughout a sense of smoldering menace. Anxious people refrain.