The disconnect between parent and child is particularly obvious in the digital age. Jesse Eisenberg, in his feature debut as writer-director, expands on this in a fair first effort that is imbued with personality. You feel the director in the snappy dialogue, and while he doesn't explore any new ideas, the characters and their relationship (or lack thereof) are interesting to explore. What this mother and son pair feel is important differs, and so do their values and ideals. It's a household full of clashes — their world divided in two. But despite their emotional separation, they're much closer in personality than they believe, and they find connections that bring them closer together.
What started as an audio drama that Eisenberg wrote for Finn Wolfhard to perform sees the young actor taking the role of Ziggy, a folk rock musician with 20,000 fans on the Twitch-like platform, Hi-Hat. Singing like those in emo boy bands of the early 2000s, all he cares about is his music. His mother, Evelyn (Julianne Moore), attempts to understand him, but ultimately, comes off as unsupportive. Not seeming to even want to listen to any of his songs, she plays classical music while they eat at the dinner table and blasts it in her car. Ziggy is out of place in this dynamic, and his mother is set in her boomer ways. As Evelyn spends her time running a domestic violence shelter, they both occupy their own worlds.
Through the course of the film, Evelyn meets 17-year-old Kyle (Billy Bryk). He and his mother seek support and a place to stay at the shelter. Upon meeting them, Evelyn observes a love and support she lacks with her child, and from learning more about Kyle, she attempts to steer him in the direction she wishes for Ziggy. Likewise, Ziggy seeks the approval of his crush, Lila (Alisha Boe), and desperately wants to impress her. Evelyn oversteps boundaries, which creates nothing but frustration, but the lesson she learns is to accept and support what makes her son happy. For Ziggy, Lila pushes him to think outside himself and focus more on the people around him.
It's hard to root for anyone narcissistic. Evelyn and Ziggy aren't the most likable characters, but that's the point. They bring out the worst in each other because they're so much alike, and their arcs lead them to a new point in their relationship. Moore's character is very unaffectionate and guarded, like there's a wall between her and the audience. But we slowly see her open up as laughter leaves her lips. We also see how the strained relationship with her son truly saddens her. She's a much more developed character than Ziggy. While Wolfhard plays the youngster with charisma and captures his passion, the emotions he expresses toward his mother are that of frustration and annoyance; if he is at all sad or cares at all about the lack of relationship with his mother, he never shows it.
There's always a sense of rebellion in growing up, as we gain the independence we previously lacked. This is especially evident in the age of social media. Parents feel more out of touch and less in control than ever. When You Finish Saving the World captures this tension — albeit in a way that fails to flow cohesively. And when the ending comes, it's rushed and lacks that much-needed emotional bite to create something memorable.
The 2022 Sundance Film Festivals runs online from January 20 to 30.
(A24)What started as an audio drama that Eisenberg wrote for Finn Wolfhard to perform sees the young actor taking the role of Ziggy, a folk rock musician with 20,000 fans on the Twitch-like platform, Hi-Hat. Singing like those in emo boy bands of the early 2000s, all he cares about is his music. His mother, Evelyn (Julianne Moore), attempts to understand him, but ultimately, comes off as unsupportive. Not seeming to even want to listen to any of his songs, she plays classical music while they eat at the dinner table and blasts it in her car. Ziggy is out of place in this dynamic, and his mother is set in her boomer ways. As Evelyn spends her time running a domestic violence shelter, they both occupy their own worlds.
Through the course of the film, Evelyn meets 17-year-old Kyle (Billy Bryk). He and his mother seek support and a place to stay at the shelter. Upon meeting them, Evelyn observes a love and support she lacks with her child, and from learning more about Kyle, she attempts to steer him in the direction she wishes for Ziggy. Likewise, Ziggy seeks the approval of his crush, Lila (Alisha Boe), and desperately wants to impress her. Evelyn oversteps boundaries, which creates nothing but frustration, but the lesson she learns is to accept and support what makes her son happy. For Ziggy, Lila pushes him to think outside himself and focus more on the people around him.
It's hard to root for anyone narcissistic. Evelyn and Ziggy aren't the most likable characters, but that's the point. They bring out the worst in each other because they're so much alike, and their arcs lead them to a new point in their relationship. Moore's character is very unaffectionate and guarded, like there's a wall between her and the audience. But we slowly see her open up as laughter leaves her lips. We also see how the strained relationship with her son truly saddens her. She's a much more developed character than Ziggy. While Wolfhard plays the youngster with charisma and captures his passion, the emotions he expresses toward his mother are that of frustration and annoyance; if he is at all sad or cares at all about the lack of relationship with his mother, he never shows it.
There's always a sense of rebellion in growing up, as we gain the independence we previously lacked. This is especially evident in the age of social media. Parents feel more out of touch and less in control than ever. When You Finish Saving the World captures this tension — albeit in a way that fails to flow cohesively. And when the ending comes, it's rushed and lacks that much-needed emotional bite to create something memorable.
The 2022 Sundance Film Festivals runs online from January 20 to 30.