There is a difference between being alone and being isolated, which is something that many of us encounter at some point in our lives. For the characters in The Holdovers, this takes on a new meaning over their Christmas break, when the majority of staff and students depart the hallowed halls of a prestigious New England boarding school to spend the holidays with their families, while a few have to remain behind, the “holdovers” that are unfortunately forced to remain at the school since they have nowhere else to go. The film focuses on the three people who face this unfortunate turn of events, which include a rebellious student whose parents decide to use the time to have their honeymoon, the strict schoolmaster who is tasked with supervising the students left behind, and the cafeteria manager, who chooses to remain away from her family as she is mourning a deeply personal lost. Over the course of two weeks, we follow them as they gradually set aside their differences and realize that they have more in common than they initially imagined. Directed by Alexander Payne, who is making a rare return to form after a tumultuous few decades in which his work underwent quite an unstable ebb and flow in quality, the film is a remarkable, heartfelt blend of comedy and drama that shows just how exceptional Payne can be with the right material, especially when it comes to commenting on certain aspects of the human condition, which seem to fascinate him more than others. A very simple film, but one with an immense sense of heartfulness that envelopes a relatively straightforward narrative, The Holdovers is an unexpected surprise, a meaningful and complex character study driven by a genuine love for humanity and the connections that exist in between the humdrummery of everyday life, which is one of the qualities that the director has done quite a bit to focus on in the past, and which feels fully-formed and even more meaningful in the context of this complex, intricately-woven comedy that celebrates and critiques the very nature of existence in its own substantial and captivating way, each moment being driven by a sincere affection that could only be authentic.

There are many entry points into The Holdovers, and the beauty of such a film is that, despite its very simple premise, this is a story that speaks to every viewer differently, and we all interpret the central narrative in different ways. Focusing on three very different individuals who are placed in the same space for a considerable amount of time is already a strong, solid foundation on which many fascinating ideas can be constructed, but here it serves the purpose of exploring the concept of loneliness. The central trio in this film are all from very different walks of life, and they have almost nothing in common – but yet over these two weeks, they learn more about each other than they ever had before, which enlightens them about the fact that everyone around them has their own story and that someone isn’t remarkable for feeling the same sense of crippling loneliness. It’s this exact feeling that draws them together and helps them find common ground, especially since it allows them to open up and develop a newfound respect for one another. This is the foundation of the film, but it is a strong one, and Payne puts in the work to avoid it becoming too jumbled of an affair, choosing to keep everything quite simple and refusing to complicate a story with twists and turns that had no business existing in such a story. Instead, we find him navigating various ideas that all inevitably lead us back to the protagonists and their crises of identity, which inform a lot of their actions, which were inexplicable at first, but gradually start to be justified once we realize that there is much more beneath the surface than we initially imagined at the start. We are passive observers, peering into the lives of these people as they navigate their challenges, and come to realize that there is value in looking at others and finding comfort in their journey. Each life is different, but some emotions and experiences are universal, which is something that The Holdovers makes sure to emphasize throughout, drawing on some truly resonant ideas in its pursuit of this poignant examination of existence, and its something inexplicable elements.

Based on the profoundly compassionate sense of humanity that drives the story, it stands to reason that The Holdovers would enlist strong actors to portray these characters, who are nuanced, complex individuals who needed to be elevated from being simply one-dimensional archetypes. Payne has a knack for getting career-best work out of his actors, and this is perfectly demonstrated with the cast of this film, particularly the central trio. He reunites with Paul Giamatti nearly twenty years after their last collaboration on Sideways (which many consider to be a personal peak for both artists), and despite the time that has elapsed, they have not lost the spark between them, as their collaboration here is just as enchanting. Giamatti is one of our most unheralded actors – a genuinely brilliant performer who is usually compressed into supporting roles that he approaches with incredible gusto but rarely is given what he deserves, especially as a leading actor. This is not a concern here – there are few people better suited to play the role of Paul Hunham than Giamatti, not only because he is capable of portraying this kind of pernickety, misanthropic apathy, but also his ability to find the humanity beneath a seemingly one-dimensional curmudgeon. Comparisons to the character of Andrew Crocker-Harris from The Browning Version are not unfounded, and Giamatti fits into this role perfectly. Of course, a strict teacher can only exist alongside a troublesome student, and in this instance we have newcomer Dominic Sessa taking on the part of the mischievous and rebellious Angus Tully, a young man who believes the world owes him something, and that he is going to make sure he gets his due, even if it comes across almost exclusively as self-entitled arrogance. The final member of this trio is Da’Vine Joy Randolph, who is undoubtedly the heart of the film. Her performance as a grieving mother who has to come to terms with the fact that her life has to go on after the death of her son is utterly beautiful, and there are several moments in which she reduces the audience to tears, which is a credit both to the writing of her character (which avoids stereotype in every way), and Randolph’s stunning, moving performance that feels genuine and complex in ways we may not expect. The film revolves around these characters, and the process of getting to know each one of them in detail is one of the many reasons it feels like such a triumph, their work being impeccable and immediately elevating The Holdovers from being a conventional odd couple (or in this case, odd trio) narrative.

The premise of The Holdovers is fantastic, and Payne does draw out a lot of emotion from a seemingly simple storyline. However, the brilliance of this film comes in its setting – such a story could be set just about anywhere at any point in time since there is nothing that ties it to a specific place or era. Yet, the choice to make this a period film was one of the best decisions, since not only did it allow Payne the chance to tackle a genre that he has never done before (as every film he has made has been contemporary), but it added layers of context that may not be important to the plot as a whole, but add shades of nuance to a story that only benefits from these details. Set in the winter of 1970, the film draws on a lot of historical details as the background for the story – the spectre of the Vietnam War lingers heavily on the psyche of the characters, whether it be the young men who fear that they are going to be sent to war or the grieving mother who has to come to terms with the fact that she lost her son to this conflict. The socio-cultural and political milieu is not directly impactful to the story, but it does add layers that Payne effectively explores, even if only through mere implication. The Holdovers is a work driven by a genuine sense of nostalgia, which is evoked through the filmmaking itself – working with director of photography Eigil Bryld, as well as collaborators in the art direction and costume design department, Payne evokes the spirit of the period in a way that makes this look and feel like a film made in the 1970s, the grainy cinematography and muted colours being extremely striking and taking on a period-appropriate appearance that often makes us forget that we are watching a contemporary film. Based on the strength of this film, it is inexplicable that it took Payne so long to make a period film since his eye for detail and particular approach to storytelling are better-suited for this kind of narrative, which allows him a lot more space to experiment with certain ideas and how they relate to the deeper sense of existentialism that he has frequently attempted to capture.

Sentimentality can be a strong artistic tool when placed in the hands of the right individual – unfortunately, Payne has often struggled to hit the right notes when it comes to such stories, despite roughly half of the films he has made over the past quarter of a century relying on strong emotions to convey a particular message. He’s a director who is only as good as the screenplay with which he is working, and mercifully David Hemingson wrote quite a beautiful script that brings out the very best in not only the actors, but in the director himself, as he quietly proves his skills have not become dormant, and that he is capable of crafting a tender, moving narrative that is endearing without being manipulative in any way. The emotional inventory of a film like The Holdovers is very important since this is a story that tackles very serious subject matter, such as loneliness, mental health and grief, but it is constructed as a comedy, albeit one in which the humour is drawn less from these subjects, and more about the lighthearted moments that occur in between deeper conversations. There aren’t many moments where it feels like we are being coerced into having a specific kind of reaction, which makes them even more impactful since it feels like Payne and Hemingson are drawing from the most genuine pool of emotions, rather than aiming simply for the low-hanging fruit. Even the moments in which it evokes a nostalgic feeling are done with some degree of authenticity, the tender and intricate nature of the material is beautifully captured in this film, which is both outrageously funny and genuinely very moving, a combination that is not easy to achieve, especially not when dealing with some of these subjects, which are increasingly more complex the further we get to know these characters and their past, all of which is drawn from the achingly beautiful work being done by the actors, who spend their time on screen developing these characters and engaging with the story to create wholehearted, fully-formed characters that are deeply moving and pay sufficient tribute to the previous generation, which is all done through finding the right balance of pathos and humour and conveying it on screen.

Beautifully poetic and incredibly charming, The Holdovers is a lovely film with a lot of heart and soul, which is an increasingly rare commodity in the contemporary cinematic landscape, which has seemingly forgotten the art of meaningful, human storytelling. These ideas are all beautifully embedded in this film, which is a poignant existential odyssey about human connections, told with nothing but compassion, earnest humour and a sincere love for the everyday lives of people who are far from extraordinary, but still have stories to tell. The relationship that develops between these characters is striking and poetic, and Payne proves that he still can touch some raw emotions without becoming heavy-handed, instead allowing everything to unravel quietly and with an abundance of sincerity and earnest humour. There’s something very special about this film, and whether it is in its bold, hearty approach to the subject matter, or the masterful performances from a terrific cast, all of whom work together to create a beautiful expression of the human condition, there is always something worth our time in this film. It may seem simple on the surface, but the more time we spend with these characters, the clearer it becomes that there is something special that exists right at the heart of the story, a kind of quiet, earnest sensibility that makes for remarkably concise, meaningful cinema. Heartfelt and charming in equal measure, and driven by a genuine sense of humanity, The Holdovers is a return to form for Payne, and an opportunity to glimpse into the lives of people who are simply trying to make their way through their daily routine, all the while attempting to find meaning in the parts of life they simply don’t understand, and in the process find kindred spirits in the people that they least expect. It’s simple but effective, and easily makes this one of the most moving, lovable films of the year, and a truly masterful example of a straightforward concept being executed with precision and honesty.