A new trailer dropped today for Behemoth, and while I don’t think it’s the kind of trailer that’s going to set the internet on fire overnight, it absolutely grabbed my attention.
It’s the latest film from Tony Gilroy, the filmmaker behind Michael Clayton and the creative force behind Andor. At this point, if Gilroy is attached to a project, I’m paying attention.
What immediately stood out is the premise. Behemoth looks like it’s shaping up to be a love letter to music in film, and for me, that’s one of the most exciting ideas a movie can explore.
Movie scores are one of the biggest reasons I fell in love with cinema in the first place. Whether it’s John Williams, Hans Zimmer, Danny Elfman, Ludwig Göransson, Daniel Pemberton, or so many other incredible composers, music has the power to elevate a great scene into something unforgettable. If Behemoth really embraces that idea, it could be something special.
Pedro Pascal stars as a musician returning to Hollywood after roughly twenty years away. The trailer doesn’t reveal much about why he disappeared, but it hints that his family is deeply rooted in music as well. It’s brief, mysterious, and refreshingly restrained. Rather than explaining everything, it lets the atmosphere do the work.
The supporting cast is stacked too, with Olivia Wilde, Eva Victor, and Will Arnett all appearing alongside Pascal.
Speaking of Olivia Wilde, she’s quietly putting together a really impressive comeback year. It’ll be interesting to see what she brings to this project.
As for Pedro Pascal, this could end up being one of his most important performances. He’s become one of those actors who seems to be everywhere these days, and there’s definitely some fatigue setting in because of it. But maybe Behemoth is the film that reminds everyone why Hollywood keeps calling his number. Under Tony Gilroy’s direction, this feels like the kind of role that could push him into awards conversations.
And honestly, if you’re making a movie that’s supposed to celebrate music in cinema, the score has to be exceptional. There’s almost no way around it. If the music doesn’t leave an impression, then the entire concept loses some of its magic. That’s probably the aspect I’m looking forward to the most.
It’s still early, and the trailer keeps most of its cards close to the vest, but this already feels like a movie destined for the fall festival circuit. Between Gilroy’s pedigree, the cast, and the concept, it has the ingredients of a serious awards contender.
I’m not saying it’s going to sweep awards season based on one trailer.
But I am saying this immediately jumped onto my must-watch list.
