Jesse Eisenberg proves to have a unique eye for observing awkwardness in social situations and coldness in family dynamics in his directorial debut, When You Finish Saving the World. Tackling the estranged relationship of a mother and son, this is a film that doesn’t shy away from its characters being a reflection of the ways adults and teens alike can be self-involved while simultaneously so clearly craving validation from each other.
Evelyn (Julianne Moore) and her son Ziggy (Finn Wolfhard) struggle to maintain any semblance of a relationship while living in suburban Indiana. Ziggy is a typical arrogant and capitalistic teenager who is mostly consumed with his online music presence, where he has a considerable global following. Although he is made aware of his insensitivity by an incredibly politically active girl at his school, Lila (Alisha Boe). Concurrently, his mother appoints herself as a maternal figure for a teenage boy she meets at the local domestic violence shelter she works at. Crucial to their own failure to bond with one another, is their pursuit to fill the void of their broken child-parent dynamic through their respective social endeavors. In addition to understanding the lack of emotional connection between Ziggy and Evelyn, there is also some real exploration into the generational disconnect between parents and their children.
The film’s leading mother and son are written (also by Eisenberg) with a realism that constantly reminds us that humans are flawed and strange no matter what point in our lives we find ourselves in. In fact, there isn’t much redemption for Wolfhard and Moore’s characters as much as there is a deeper examination of how cold they can be to the people closest in their lives. Evelyn, emotionally drained from her job at the shelter doesn’t seem to have the energy to understand her son’s music career – where he showcases his attempt at seeming alternative and deep to his many followers. In her defense, Ziggy’s music isn’t particularly amazing, but it’s all written in a very teenage aspiration to be liked, both by his followers and his parents. Wolfhard as Ziggy is deep in the phase of pandering to his peers that all teens inevitably go through and it’s as embarrassing watching him attempt to write the next indie-folk hit as it is to see him try to engage in political discourse. He makes his accomplishments as an influencer widely known to his mother, but not for her approval (not that he is aware of at least). Instead, he internalizes her disinterest in his music and sees his success as a way to outperform her in their weird little mother-son competition.
The soundtrack and score for the film is one composed of diegetic music that Evelyn and Ziggy listen to. Of course there is music featured by Ziggy Katz, which is used throughout the film to track the progress (or lack thereof) in his desire to become politically aware to impress Lila. But there is also musical accompaniment for Moore’s character as well. As if their lifestyles couldn’t be more different, she solely enjoys classical music on her commute to work and back home which further emphasizes the detachment she has from her son. Evelyn and her husband (Jay O. Sanders) both have no interest in listening to their son’s music, which motivates him to pursue his music career out of spite.
A proper relationship between Ziggy and Evelyn is not guaranteed even in the film’s ending. But what is established is that through their efforts in seeking out companionship from outsiders, they are able to finally see each other, not just as mother and son, but as people. From their inability to connect, to having the film be set to Ziggy’s homemade indie-folk fusion, to the many scenes that are ripe with second-hand embarrassment, When You Finish Saving the World curates a uniquely raw humanness that doesn’t glorify its characters but aims to understand the root of their imperfections.
Photo courtesy of A24
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